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Authors: Anne Haour and Ruth Galpine

This article considers pottery sherds from three sites in the Makarauci Valley, Niger, dating from AD 1300-1650, with particular focus on tempering practices. The sherds represented two main types: plain vessels with minerals providing a natural temper, and decorated (mainly pleated strip roulette) vessels tempered with vegetal fibres, now burnt out. There is a very strong correlation between this fibre-tempered fabric and decoration. As the contemporaneity of dates suggests both types of clay were available to the potters, the question arises as to why they used fibre-tempered clays for the manufacture of decorated vessels. We consider evidence for fibre-tempering from around the world and suggest that the answer lies in a combination of cultural and technological factors. Decoration served as the marker of a vessel designed for water storage and carrying, and the decoration disguised the pitted and blemished surface of fibre-tempered pots; the porous fabric meant the vessels were lighter to carry and therefore better suited for water transport.

In: Journal of African Archaeology
This collection of critical essays is designed to lay the foundations for a new theory of the European avant-garde. It starts from the assumption that not one all-embracing intention of all avant-garde movements - i.e. the intention of “reintegrating art into the practice of life” (Peter Bürger) - but the challenge of new cultural technologies, in particular photography and cinema, constitutes the main driving force of the formation and further development of the avant-garde. This approach permits to establish a theoretical framework that takes into account the diversity of artistic aims and directions of the various art movements and encourages a wide and open exploration of the multifaceted and often contradictory nature of the great variety of avant-gardist innovations.
Following the theoretical foundation of the new approach, individual contributions concentrate on a diverse range of avant-gardist concepts, trends and manifestations from cubist painting and the literary work of Apollinaire and Gertrude Stein to the screeching voices of futurism, dadaist photomontage and film, surrealist photographs and sculptures and neo-avant-gardist theories as developed by the French group OuLiPo. The volume closes with new insights gained from placing the avant-garde in the contexts of literary institutions and psychoanalytical and sociological concepts.
The main body of the volume is based on presentations and discussions of a three-day research seminar held at Yale University, New Haven, in February 2000. The research group formed on this occasion will continue with its efforts to elaborate a new theory of the avant-garde in the coming years.
Author: Lavie, Smadar

persecuted Eastern European Jews through importing European cultural technology. Concurrently it planned to reinforce its conception of European superiority through primitivization of the native Palesti...

Author: Kerry McElroy

This chapter takes a cross-cultural look at early silent film in three different cultures to examine how the ancient artistic trope of beautiful woman as tragically doomed and destined for destruction made the leap to the emergent medium of early cinema. This stereotypical woman is historically ubiquitous, from Eve to Pandora, from goddess mythology to Madame Bovary. Dating from the 1st century BC, Chinese poetry utilised the trope of hongyan boming: ‘beautiful women live unhappy lives’. In every culture where film takes hold as a cultural medium, the tragic beauty quickly follows, and with remarkable commonalities with her compatriots on other continents. I will situate this ancient archetype’s twentieth century cinematic counterparts in Shanghai cinema’s suicide icon Ruan Lingyu, Lydia Borelli’s tragic Italian diva, and iconoclastic Hollywood and Berlin star Louise Brooks. The chapter takes conflation as methodology, analysing both lives and roles and creating a synthesis of actress and character that is deliberate. In the period of focus, romanticisation of violence, suicide, and the idea of a tragic destiny as the price of beauty run not only through film history, but through biography. Thus this archetypal woman is not a response to the New Woman or unique to cinema but is as old as civilization itself. Whether in examination of ancient China, fin de siècle Italy, or twentieth century America, as long as there are associations between sex, death, and danger, culture will offer and mythologize the figure of the beautiful woman leading men, and ultimately herself, down the path to ruin. This chimerical woman can be made a study of in poetry, in painting, in music, or in literature. Her emergence in the early years of cinema merely shows that the figure of the beautiful woman as tragic and dangerous followed wherever new cultural technologies ventured. Feminist theory can be used to uncover why the embodied state of the actress is reflective of larger themes in the lives of women and the mimetic relationship between audience and star.

In: (Re)Possessing Beauty: Politics, Poetics, Change
Authors: Kyong Yoon and Dal Yong Jin

Imagination in a Digital World 2013 New Haven Yale University Press Goggin Gerard Hjorth Larissa Burgess J. Richardson I. ‘The iPhone and Communication’ Studying Mobile Media: Cultural Technologies, Mobile Communication, and the iPhone 2012 London Routledge 11

In: Asiascape: Digital Asia

, intense discussions regarding national culture dominated Iranian intellectual life. These discussions sought ways of reconciling Iranian traditions with the demands of the religious state, on the one hand, and addressed problems of compatibility between modern Western cultural technologies and conceived

In: Journal of World Literature

the same name, Heidegger manages in four pages to address the distinc- tion between historicity ( Geschichtlichkeit ) and the cultural technology, culmi- nating in historicism, of giving a historical accounting ( Historie ) of the past with a view to determining the essence of humanity deŽ nitively in

In: Research in Phenomenology
Author: Aaron Segal

, Intermediate Technology Group, Lon- don, 1985. 17 Hans P. Binswanger, Prabhu L. Pingali, "The Evolution of Farming Systems and Agri- cultural Technology in Sub-Saharan Africa." In Vernon W. Ruttan, Carl E. Pray, Policy for Agricultural Research (Westview: Boulder, 1987), p. 304. 18 Paul Richards, op. cit., p

In: Journal of Asian and African Studies

Burgess Jean Richardson Ingrid ‘Touching the Screen: A Phenomenology of Mobile Gaming and the iPhone’ Studying Mobile Media: Cultural Technologies, Mobile Communication, and the iPhone 2012 London Routledge 133 153 Schneider Florian Goto-Jones Chris

In: Asiascape: Digital Asia

relation between faithfully transmitted tradition and cultural innovation. If cultural technologies, such as ritual behavior and symbolic encoding, are able to effectively mold human experience to conform to expectations, and if the reassessment of internal cognitive models based on sensory information

In: Aries