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Dr. Kelly Gleason finds an artifact from the Two Brothers shipwreck site in Papahānaumokuākea Marine National Monument. Photo by: Greg McFall/NOAA
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Captured this artifact at Orchard Central (Shopping mall) rooftop. The designer should be illustrating "One step at a time", as the wired guy and the wired stairs is made of the same material and is pointing towards the sky.
An artifact from the Two Brothers shipwreck site in Papahānaumokuākea Marine National Monument. Photo by: Greg McFall/NOAA
For more information, visit www.papahanaumokuakea.gov/
Follow us on Twitter: twitter.com/hawaiireef
Like us on Facebook: www.facebook.com/Papahanaumokuakea
Contact us by email: hawaiireef@noaa.gov
Founded in 1926, the Larco Museum showcases remarkable chronological galleries providing an excellent overview on 3000 years of development of Peruvian pre-Columbian history. Located in a unique vice-royal mansion of the 18th century built over a 7th century pre-Columbian pyramid and surrounded by beautiful gardens. The museum features the finest gold and silver collection from Ancient Peru and a famous erotic archaeological collection.
For an unforgettable experience, Larco is one of the few museums in the world where visitors can also choose to enter the storage area with its 45.000 classified archaeological objects. Its masterpieces are considered worldwide icons of pre-Columbian art, after being exhibited in the world's leading museums.
Whitney Key, " Copper Indian Artifacts," digital photograph, 2008,_ Whitney Key Collection_, Acworth, GA
This picture was taken in a museum at the Etowah Indians Mounds in Cartersville, Ga. This picture consists of Indian artifacts that are copper axes with wooden handles and copper covered axes. Throughout my gallery of pictures I chose to use this picture because of the detail of the tools. Their were many other artifacts at the museum including pottery, beads, and mask that the Indians would use in gatherings and Indians festivals.
The Cherokee Indian men made tools and weapons and the women harvested crops and did the farming. The men did all the hunting which required them to make all types of tools like axes, bow & arrows, stone knifes, etc. With these tools they hunted for food to provide for their families. They hunted larger animals with bow & arrows and with the smaller animals they used blowguns.
The larger animals they hunted were deer, buffalo, bears, etc. and the smaller animals consisted of all types of fish. Not just for hunting, but the indian men used the stone knives to skin the animals for clothing to keep warm and trade. They would use the skin for everything like in their homes and gatherings as well. The women made pottery and with the pottery tools they collected crops. A tool to the Indians was like technology to the American people today. They used the tools they made to survive everyday life.
The early Cherokees hunted and farmed all throughout North Georgia and other areas including the smoky mountains in TN. and the borderline of Alabama, until the white settlers invaded their land. Their lives were based around survival and when the settlers started to take over their whole outlook and how they were brought up changed. They than began to gain other beliefs, economic and political structures of the settlers. It went as far as some Cherokee Indians owning slaves and becoming Slave owners. Dodson states that " cutting through myths and setting aside romanticized notions, Dr Celia Nayor explores the bonds of culture and sometimes blood that linked Blacks to their Cherokee slave masters."
By gaining more structures, tools began to not be such a big impact in their lives and the use of them was not as important. Today you can find different artifacts from the early Cherokee's such as arrowheads, pottery, axes, and rocks. There are many of museums throughout the world based on the Indians that provide architect from the early Indians, the use of the tools and how they survived.
James H. O'Donnell, "Ther Cherokee Nation in the Civil War," American Indian Culture & Research Journal, (2007), 151-153
Angela P. Dodson, Diverse: Issues in Higher Education: (Gaileo: African Cherokees in Indian Territory), 16.
This ring has been found in 2525 among some other coins with unknown origin. It was burried under a former town probably in the middle of the 21th century.
Some presume that it was made buy somebody because of a nostalgy for the earlier years. Others say that the artist was only attracted to the metal's shiny look and neither himself did not know what was the coin for originally. It depicts a man with four hands and four legs, certainly some god or other divinity. The stars around him just confirm this theory.
According to some publications the artist made these to trade them for meat with hunter communities. However it is very unlikely because in the middle of the 21th century trade did not return yet, especially not for other than meat or vegetables.
Artifacts sold at Alexandria
Samuelraj Photography @ Facebook : www.facebook.com/home.php?ref=home#/pages/Bangalore-India...
je loopt er tegenaan en je denk tja dit is wel geinig op het strand.
it is just a imige on the beach.
RAILROAD “DATE NAIL”
Steel, ca. 1929, C. E. Length 2 1/2 inches (standard); head stamped “29”; moderately weathered, oxidized.
This Railroad “Date Nail” is a fine and valuable example of these markers, traditionally shared among Gentlepeople of the Road as tokens of especial friendship, most desirably being marked with the year of the recipient’s birth. They are either carried loose on the person or worn on necklaces of copper wire (“railroad bling”).
Date Nails are a tangible symbol of the personal relationship and bonds of affection between giver and recipient as recognized within the larger context of the American Over-soul. The Over-soul, a dynamic confluence of lives on this continent, is described by Ralph Waldo Emerson, invoked in the poems of Walt Whitman, and found on America’s railroads and highways.
Readers conversant with street or road culture will have a first-hand understanding of this phenomenon in its utmost manifestations, and all who have taken a road trip or family vacation will likewise have felt rushing around them, however passingly, the transcendental slipstream, which, here, is entered through motile action. Also, an allegorical figure, experientially and effectively similar to the Over-soul in its outward-regarding aspect, hovers over Saint-Gaudens’ 54th Massachusetts Volunteer (colored) Infantry Regiment as they march to open recognition of their place in not only the collective unconscious, but also the national consciousness.
Acquisition Data: Gift of Hansum Jack, Tramp, immediately preceding a July 2007 performance at the MSM by the musical group “Pariah Beat.” The flyer for this performance features a colorful character urging attendance at the concert and featuring numerous motifs and attributes associated with tramp, punk and other subcultures, too numerous to list here but including nautical stars similar to those embroidered on the fabulous 1848 “Sailor Pants” at the Smithsonian Institution in Washington, D.C. Attributes include “Doc Martens” footwear, rowdy attitude, striped railroad cap, a lady’s garter, old-fashioned tattoos, belly full of roast chicken, handgun, spliff or hand-rolled.
The figure gestures with his right hand; a band member, expressing uncertainty, identified the gesture as “(heavy) metal … devil’s horns,” while agreeing it could also be an unidentified or unidentifiable gesture of blessing or ecstasy originating in other, older religious and/or folkloric practices, the interpretation favored by some experts at the MSM.
It can be no accident that this nail joined our collections at this time.
Background: From the mid-19th to the late 20th centuries, railroads drove nails like these into the wooden ties to help monitor their condition. More effective anti-rot treatment of the ties, and information stamped directly onto the ties, have effectively ended the use of date nails. When dropped on a wooden or concrete surface, this nail produces a cheerful clink.
Note: In interviewing transients under age 30, we have seen that few identify themselves as “hobos,” and some strongly disfavor the term. Riding the rails must be understood to be an exercise not in nostalgia but in both hardship and occasional unexpected, unplanned joys (such as snowy, leafless spring woods which are nonetheless newly filled with birdsong; a loaf of bread and a block of cheese given, unasked, by a friendly hand; warm new friendships, a cold can of beer, and some hot rockin’ tunes all converging as the late-summer sun sinks below the far horizon; the appearance of a steady job and a place to live for the winter).
Because rail-riding was originally, and is still in its essence, a practical solution to an age-old, yet evergreen, problem (“desire to go somewhere else + no money = ?”), rather than a cultural gesture, let alone a posture of self-regard, we find the position of the younger tramps a compelling one: they are not “hobos,” they are “tramps.” The Main Street Museum therefore adopts this usage.
One of the few ordinary pre-WWI apartment houses still standing on First Hill, until one day it wasn't.
Accession #: M.2002.1.367.1a-b-.2a-b
Location: LACMA
Team: artifacts
Egypt
Two pages from a manuscript of the Qur’an (59:7-11; 61:12-62:4), 1438-1453
Calligraphy; Book/manuscript/album, Ink, colors and gold on paper, Folio, overall (individual): 13 1/2 x 9 1/4 in. (34.29 x 23.5 cm); Text block (individual): 9 1/4 x 6 3/4 in. (23.5 x 17.15 cm)
The Madina Collection of Islamic Art, gift of Camilla Chandler Frost (M.2002.1.367.1a-b-.2a-b)
Next set of prints from my ongoing Local Landscapes project. These were all lith printed on Ilford MG Art 300
Next set of prints from my ongoing Local Landscapes project. These were all lith printed on Ilford MG Art 300
McFaddin Beach artifact smooth side. This side may original covering intact. This side is also much flatter than the other.
Artifact
2010
Gregory Barsamian
Born 1953, Chicago, IL, USA; lives and works in Brooklyn, NY, USA
Steel, foam rubber, paper, acrylic resin, electric motor
Please be aware that there are some strobe lighting effects in this artwork.
Gregory Barsamianâs work exists in a profound confrontation with reality. Theatrical in the sense that it takes place in a darkened space before a passively engaged audience, his sculpture relies almost completely on the viewer, because what the viewer sees, seemingly fully present and tangible, is, in fact, not there. Products of the viewerâs subconscious response, these constructed illusions create a conflict between sensory information and logic, a confrontation suggestive of a dream state. Barsamian has discovered a way, through the use of animation, to give visibility to images normally hidden in the subconscious mindâimages usually accessible only while dreaming. His work is oddly solipsistic, implying to the viewer that nothing exists and that even if something exists, nothing can be known about it.
Perhaps because Barsamian isnât a trained artist (his degree is in philosophy), he is particularly receptive to expanded definitions of the art object. This has allowed him to conceptualize beyond confining genres of presentation and subject matter. His work is shaped by Jungian psychology, dream theories of all sorts, and recent research on the neurology of dreaming. He is especially interested in differences between the conscious and the subconscious mind. As he pointed out in a recent statement, âConsciousnessâ¦in a rather slow (15 to 20 bits per second), plodding way, is capable of remarkable feats of reasonâ¦the senses bring in 20 million bits of information per second. Our minds are actually processing and acting on much of it in ways completely unknown to consciousnessâ¦in the subconscious, we experience things not through the limits of the conscious mind but rather via the full torrent brought to us by all our senses.â
Barsamian makes the experience of seeing his work comparable to that of hearing musicâtaken in through the senses in ways that bypass the filters of consciousness. He yokes Jungâs intuitive mysticism to the theory that dreams create new ideas as well as mutations in brain structure. Barsamian has been tape-recording his dreams for two decades, and much of his own dream-imagery appears in his work. His dream materials fall into distinct categories: action dreams, dreams of flying, and dreams involving transformation. This material is manifested in his work in the form of iterative loops, cycles of mutation and transformation with no clear beginning or end.
In his mechanized scenarios, players are locked into their situations, and constant repetition makes them visible. In this purgatory, nothing is resolved. Reflecting the tenuous, insubstantial, and fleeting nature of dreams, his images have no fixed meaning; each piece makes equal sense running backward and forward in time. In Die Falle, human forms flow from sleeping heads, arch backward and form wheels, which become square and dysfunctional before mutating back into figures that drift upward to rest in beds formed of mouse traps. In the majority of Barsamianâs work, images of futility, rage, sin, excrement, shame, or flying blink in and out of the viewerâs consciousness during the two- to five-minute life of each cycle. His imagery is sometimes personal, sometimes universal, and is drawn from politics, everyday life, and pop culture.
The representation of mood, or emotional nuance, is as central to Barsamianâs work as it is to dreams. Emotionally, his images are simultaneously humorous and melancholy. The comedy is related to the history of animation, which doubles as an encyclopedia of cultural humor. Animation is inherently funny because of its clumsy simulation of realityâits artifice, stylization, and mechanics make Barsamianâs work comical despite its sometimes scary and often serious content. The workâs mysterious and profound melancholy comes from its obsessive and repetitive re-enactment. The iterative imagery conjures feelings of helplessness, exasperation, and pathology while mimicking the involuntary nature of dreaming itself. Weighted with representations that elicit response rather than inform it, his work is more about the phenomena of dreams than literal dreams.
Barsamianâs Brooklyn workspace is Dickensian: shadowy, dimly lit, a hodgepodge of old-fashioned tools and electronic implements. He refers to his apparatus as âIndustrial Revolution-style technology,â using the phrase to describe his combination of 19th- and 20th-century fabrication techniques and advanced electronics. His equipment ranges from hand tools, welding machines, mold-making equipment, and resins to strobe lights, motorized turntables, electrical cables, and computers. Although his work is categorized as media arts, he doesnât project his images using advanced optics. His use of the computer is limited; he employs it as an aid in design and fabrication and to model sculpted elements. Unlike most artists whose work is derived solely from computer-driven processes, Barsamianâs digital interventions have no overt presence in the final object. The computer is just a part of his eccentric collection of equipment, a time-saving device. The end results look slightly crude and distinctly handmade, defined by their material substance.
Lather, 2002. Steel, urethane foam, acrylic medium,
motor, and strobe, 5 x 5 ft. diameter.
Barsamian motorizes hundreds of elements to create three-dimensional illusions of moving objects. His installations consist of sequentially formed sculptures carved in plaster and cast numerous times in urethane foam rubber. Some elements are cast from readymade objects including Barsamianâs face and hands. The fabrication is painstaking and time-consuming, often taking up to a year. Barsamianâs technique produces the appearance of motion from a succession of static objects, and the brain animates the images/objects, giving them spatial reality. This psychological phenomenon is called the persistence of vision; simply put, an illusion of movement is created when a viewer sees a rapid succession of images. As Barsamian describes it, âKnowledge of objects allows us to link the images together into a single identityâ¦a kind of animation. As we move, forms mutate one into the other in a wild spectacle of change.â Lucretius is credited with discovering persistence of vision; like Barsamian, he thought of it in connection with images seen in dreams.
Barsamian has to juggle multiple factors in order to produce the illusion of one smooth motion. The sequentially formed pieces (sometimes as many as 40) are attached to a motorized armature, a spherical wire cage that spins as fast as an old-fashioned record player (33 1/3 to 50 revolutions per minute). The cage spins vertically in front of a strobe light that flashes 13 times per second, illuminating the sculptures as they move. Perfect calibration of light and movement is crucial; with the right timing, you donât see a blur as the sculptures spin by but a single moving image like a filmstrip. The motion mostly takes a vertical direction, as though the forms were moving from top to bottom and bottom to top rather than in the direction of the turning armature. If the timing is too slow, the illusory waterfall of motion loses its directional quality and every gear and knob appears; if the timing is too fast, the images become incoherent. The end result is so disconnected from reality that you are confronted with two choices: accept every facet of it or reject it as a mere trick, something contrived and merely mechanical. Barsamian makes his work so curious, complex, and seductive that it bypasses the entrenched structures of disbelief and the usual 20-second glance. The cascade of images, drone of motors, and slight breeze generated by the whirling armatures envelop the viewer, delivering a sensory assault so encompassing, so potent, that it erases the usual separation between spectator and object.
While Barsamianâs work is compelling and enigmatic even at rest, itâs impossible to experience through photography. Photographs reveal the mechanics of the work and the appearance of the many small pieces that create the illusions. These are wonderful to see, and they are beautifully crafted, but seeing them is like looking behind the green curtain and encountering the Wizard of Oz. Barsamianâs details are like the articulations of a puppetâseeing the pieces in action is the point. The function of the components is to create the magical illusion of animation; the content is the entire experience. The best way to see Barsamianâs work is either in person (the collection of the Museum of the Moving Image in New York includes Feral Font) or on his Web site www.gregorybarsamian.com.
Artifact, Barsamianâs most recent piece, was commissioned by David Walsh, creator and owner of the Museum of Old and New Art (MONA) in Hobart, Tasmania. Its form and imagery were inspired by the 19th-century pseudoscience of phrenology. Unlike many of Barsamianâs previous works, the 10-foot-diameter steel head is stationary and enclosed, its animating armatures concealed inside. Because the viewer has to walk around the work to view the animations, the experience is intimate and engaging. The head wears a benevolent expression, eyes open, a faint smile on the lips, as if experiencing a pleasant dream. Presented in a darkened space with its huge cheek snuggled against the floor, it bears a faint but distinct resemblance to Brancusiâs Sleeping Muse. The skin is criss-crossed with delicate linesâthe tack-welded edges of the hundreds of small plates that form the head and lend it the look of a refined Frankensteinâs monster. When Artifact is operating, light leaks out between the suture-like welds of the skin, bathing the whole object in a crackly, electrical glow