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RAMOS, Matthew Jacob F.
The logo basically reminded me of the boats and weavings in Mindanao, so I decided to go for that. This is the revision of my previous work on the subject. Hopefully, it looks practical.
Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.
Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.
In these times of world economic crisis, we may find ourselves examining our more basic requirements as theorized by Abraham Maslow in his "hierarchy of needs".
Shivalaya | Badami | Karnataka | India | Dec | 2008
The capital of the Early Chalukyas, Badami is picturesquely situated at the mouth of a ravine between two rocky hills. Badami is famous for its four cave temples - all hewn out of sand stone on the precipice of a hill. The temples dates back to 6th-8th century.
This picturesque location has been used by Mani Ratnam in numerous scenes in his famous film "Guru"(2007)
Palais Augarten - "a place of recreation" for Archduke Otto
Hierarchies, pecking orders, family traditions also determined the homes of family members. Yet why was Archduke Otto in the Augarten comfortabler living than the heir to the throne?
The site on which there is the Palais Augarten until today, served the Habsburgs yet at the beginning of the 17th Century as a hunting ground. Joseph II bought the site together with the palace and had thereon expanded this. In the same year, in 1775, he made his nickname of "people's emperor" all honor and made the park accessible to the population. "All people dedicated Erlustigungs (enjoyment) site of their cherisher," the Regent let, as there is still read today, write for the occasion on the front gate of the Augarten.
From 1860 to 1863, the brother of Franz Joseph Karl Ludwig lived in the Augarten Palace. 1867, High Steward Konstantin Prince Hohenlohe moved to the Augarten. Under him, and especially thanks to his wife, the estate has developed into a cultural center frequented by famous people such as Richard Wagner, Franz Liszt and Hans Markart. End of the 19th Century Franz Joseph assigned his nephew Archduke Otto the palace together with his own royal household, royal kitchen and Lipizzaners as to residence. Otto lived so comfortabler than his older brother Franz Ferdinand, who was, after the death of Crown Prince Rudolf in 1889 the heir to the throne, after all. But him was only assigned the Palais Modena in Vienna Herrengasse. Why?
Franz Ferdinand suffered from tuberculosis, so it was a long time uncertain whether he would actually be able to succeed to the throne. Franz Joseph, his potential successor had a distant relationship, only too happy to involve his favorite nephew Otto increasingly in the business of government in order to relieve the sick brother. It was obvious that Francis Joseph had the charming Otto preferred as successor. But Franz Ferdinand recovered from his illness. The old order of succession was thus already restored, when in 1899 the Palais Augarten has been extensively renovated and expanded for Otto. There he devoted himself to his favorite hobbies, to painting and photography, before he died at the age of 41. His son, Archduke Carl Franz Joseph was as Charles I the last Emperor of Austria.
Where once Archduke Otto had lived settled in 1923 the famous Augarten porcelain manufactory. In addition, live, learn and play music since 1948, the Vienna Boys Choir here. A place of amusement, as it Joseph II had wished for himself and to which it also made Otto with his cheerful way of life, the Augarten is today.
Sonja Schmöckel
www.habsburger.net/de/kapitel/das-augartenpalais-ein-erlu...
Hierarchical Vigil by Metropolitan Hilarion and Bishop Nikolai of Manhattan in the presence of the Kursk-Root Icon The Vigil at St. John The Baptist Cathedral in Washington on September 10, 2021. Photo by Yuri Gripas
Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.
Festival Internazionale di Performance Art - 9-10 Giugno, Torino, Italia 2012.Il T.P.A. Festival nasce con lo scopo di diffondere la Performance Art e di creare un’occasione di scambio tra artisti italiani e internazionali. PERFORMANCE LIVE08.06.2012 dalle h.21.00T.P.A. Pre-festival, Cittadellarte-Fondazione Pistoletto, Biella Chiara Curinga/Erica Fortunato (IT), Soledad Burçak Konukman /Nejat Satı (TR), Hierarchy of Pyramid Nathaniel Katz (CA/US), Getting inside my Computer Paolo Angelosanto (IT), For love only for love 09.06.2012 dalle h.18,30 T.P.A. festival, GreenBox, Torino Burçak Konukman /Nejat Satı (TR), Hierarchy of Pyramid Arrivsceccarelli (IT), Veglia di compleanno Chiara Curinga/Erica Fortunato (IT), Soledad Nathaniel Katz (CA/US), Getting inside my Computer Riccardo Santoro (IT), Invisibili (installazione). 10.06.2012 h.16,30 studio Stefano Giorgi, TorinoManuela Centrone (IT/FR), EStasi10.06.2012 dalle h.19.00 GreenBox, TorinoValentina Murabito/Vinzenz Fengler (IT/DE), Il luogo visivo del silenzioSara Pathirane (FI), CrisalideMichela Depetris (IT), Penelope SyndromeNatasa Korosec (HR), PossibilityPaolo Angelosanto (IT), For love only for loveRiccardo Santoro (IT), Invisibili (installazione)VIDEO SCREENINGSky Thomas Fairchild-Waller (1987, Canada. Vive e lavora a Toronto)-Hegemonic Masculinity/Preminenza mascolinaMeditazione sulle gerarchie di genere presenti nei concetti di mascolinità e di omossessualità.-Les Mots et les Choses/Le parole e le coseEstratti di testi di Michel Focault e Hemingway per esaminare la costruzione e la revisione ideologica di genere della grammatica.Annaclara Di Biase (1977, Torino. Vive e lavora a Castelfidardo, Ancona)-AgathaPortando l’attenzione su quella parte anatomica che più rappresenta l’essere donna, l’azione riflette sul corpo femminile nella società contemporanea. Il seno separato dal corpo diventa massa di plastina rosa che viene modellata, manipolata, impastata con un intervento scultoreo e culinario allo stesso tempo.Carlos Llavata (1964, Valencia. Vive e lavora a Madrid)-The Hunter/Il cacciatoreRiflessioni che riguardano le relazioni tra magia, sesso, cartoni animati … un’azione performativa legata a una delle principali paranoie concettuali dei nostri tempi.Cristina Mirandola (1974, Bologna. Vive e lavora a Biella)-Pegni d’amore (dittico)Sono due brevi azioni di una donna in vestaglia con il capo coperto da una maschera di feltro. Doni, parole, segreti. E' tutto ciò che torna, come le macchie che emergono dai tessuti bianchi. Bartolomè Ferrando (1955, Valencia. Vive e lavora in Spagna)-Novela-Menu-Poema sonoroPrendo sempre immagini poetiche come punto di partenza per il mio lavoro. La sfera poetica mi aiuta a costruire pezzi e strutture che posso usare per approcciarmi all’area della musica, della scultura, dell’azione.Guido Salvini (1962, Torino. Vive e lavora a Torino)-Prova di resistenza/strenght test 2”Una mano tenta di scrivere l'articolo 21 della Costituzione italiana, un'altra mano cerca di impedirglielo.Art.21 della Costituzione italianaTutti hanno diritto di manifestare liberamente il proprio pensiero con la parola, lo scritto e ogni altro mezzo di diffusione.Marika Dimattia (1986, Altamura. Vve e lavora a Bologna)-Maria FarrarIspirato alla poesia di Bertold Brecht “Della infanticida Maria Farrar”.Michela Depetris (1984,Torino. Vive e lavora a Torino)-Let the sunshine in 5’ minMi domando se sia possibile vivere il tempo come mera respirazione, a volte sembra che siamo fatti di tempo.Nadia Gomez Kiener ( Vive e lavora in Argentina)-Performance B2 (Sin titulo)La performer adotta un atteggiamento sgradevole e poco femminile, vuole essere il meno attraente possibile. Cercando di ribaltare una situazione che le donne vivono quotidianamente, flirta con tutti gli umomini che le camminano di fronte mentre si tocca la pancia gravida.Ruth Vigueras Bravo (1981 Mexico. Vive e lavora in Messico)-Viva Mexico! 1 -Viva Mexico! 2 -Viva mexico! 3Attraverso l’utilizzo dissacrante di alcuni simboli che rapprensentano il suo Paese, l’artista critica l’uso illegittimo del potere pubblico per il guadagno privato, generando una riflessione sulla situazione politica messicana durante gli ultimi sette mandati presidenziali.Silvio De Gracia (1973, Buenos Aires. Vive e lavora in Argentina)-Personal DuchampDialogo visivo e spirituale tra l’artista e l’orinatoio di Marcel Duchamp.BBB Johannes Deimling (1969, Andernach. Vive e lavora in Germania)-Wille (Will)26’min-Shamrock “for you” 17’minDeimling non è interessato a raccontare storie ma piuttosto a trasformare le sue osservazioni in immagini fisiche che possano essere, nella loro intensità, un’esperienza per tutti.Tamara Platisa & Sasa Rajsic (Yugoslavia, vivono e lavoran a Toronto e Helsinki)-Tamara. Sasa. Tamara! Sasa!I performer sono uno di fronte all’altra e si chiamano a vicenda compiendo uno sforzo fisico percomunicare. Mentre emettono suoni con la voce creano una linea invisibile.Hyslom (JP)-Documentation of HysteresisAttraverso questa opera, Hyslom, collettivo artistico originario di Kyoto, mira a portare alla superficie le caratteristiche, i sistemi, I fenomeni naturali, e altri elementi che sono scomparsi o che sono stati nascosti dalle trasformazioni che le città e I paesaggi hanno subito.10.06.2012 h.21,30-23.00 GreenBox, TorinoOut of limitsa cura di Silvio De Gracia10.06. 2012 h.17.00-19.00 GreenBox, TorinoJulieta Maria, Exercises in faith:soilRicardo Miguel Hernandez, InvencibleDeng Da Fei, China AstronautBaggentos-Rudolf, BalloonsMiguel Rodriguez Sepulveda, CachetadaRenny Barrios, Propuesta corporal para la solucion de 7 problemas de la escultura-ejecuciones furtivasT.P.A. (Torino Performance Art) è la prima edizione di un Festival dedicato alla promozione e alla diffusione della Performance Art contemporanea nelle sue pratiche più varie, sperimentali e indipendenti. L’obbiettivo è quello di attirare l’attenzione sulla vivace comunità di artisti che si dedicano a questa forma di espressione e di facilitare la connessione tra questi e il pubblico.Il progetto si avvale dell’ospitalità e della collaborazione dell’Accademia Albertina di Belle Arti, della Fondazione Pistoletto di Biella, di Novalis Contemporary Art. Sono coinvolte inoltre differenti realtà artistiche indipendenti: GreenBox, Studio Stefano Giorgi, Bin 11, Collettiva dell’Arte.Direzione Artistica: Manuela Macco Assistente: Annalisa TorrettaSpecial thanks to: Guido Salvini, Michela Depetris, Annalisa Torretta, Cristina Mirandola, Juan Esteban, Paola Spola, Elisabetta Vacca, Monica Saccomandi, Gianfranco Costagliola, Silvia Iracà, Elena Pugliese, Carlotta Laugelli, Leandro Franza, Paola Nepote, Gabriele Fracassi, Roberta Minici, Stefano Giorgi, Alessandra Valsecchi, Antonio Lagrotta, Lanificio San Salvatore.
Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.
The mummies of Monopoli are located in a chapel inside the Church of S. Maria del Suffragio, a short distance from the Cathedral of the Madonna della Madia.
The exterior of the monument shows a Baroque façade, with elements that let you understand the cult that was practiced inside: that of death. Skulls and crossed bones peeps between festoons and allusive cartographies, while on the wooden portal of 1736 two triumphantskeletons are carved, surrounded by the symbols of the most varied professions, arranged in hierarchical order from bottom to top. The lowest correspond to the most humble jobs and as you go up there are royal and papal crowns. All made the same, however, by the "sister death", which cancels the social differences. A warning to every living man on earth.
An aura of mystery and legend surrounds this place: some inhabitants claim to have seen shadows both inside and outside the church and this must have made many shudder, to the point that they avoided passing along the current Via Padre Nicodemo Argento, if not for urgent necessities!
Entering the church, you immediately frame the superb baroque altar, very beautiful. Immediately we find the theme of the "memento mori" and surely it is the Chapel on the right that arouses the greatest curiosity, as well as a sense of respect for those bodies exposed in the windows, standing and dressed in the clothes of the Brotherhood. On the opposite wall there are two display cases, one containing 4 mummies and the other two. In front of this last showcase, there is yet another one, with two other mummies, eight in all but there is also a much smaller case, which preserves the mummified body of Plautilla Indelli, a child who died at only two years old.
Who are these characters? It is enough to read the carts that are affixed to the feet of each of them to ascertain it. They were all members of the Brotherhood of Our Suffrage.
Let's start with this question: why do you have eight adult mummies and one child in the Chapel? Their number was probably higher but let's stay on this reality. To answer you need to know the background that took place in the Church of S. Maria del Suffragio and are a bit macabre. The building was equipped with two underground rooms called "colatoi".
Here the deceased were stripped and washed, resting on gratings placed on large tanks and left to "drip". When the body fluids had completely abandoned the skeleton, it was placed standing within the wall niches arranged along all the walls of the room.
As for the little Plautilla, which makes tenderness but also inspires a sense of reflection. Her eyes are made of glass, her cheeks have traces of color, her eyes and eyebrows had been made up, as if those who embalmed her (because in her case it is not a phenomenon of dehydration) had wanted to give a character as alive and realistic as possible. Plautilla is the only mummy-child in Puglia. Its preservation was not natural but chemical: it was in fact embalmed Wearing a tulle and silk dress, the hair gathered in a cap. It looks like a doll. What did he do among the adult mummies of the Brotherhood? Probably the parents, the noble Indelli, were members of the same.
Simonopetra Monastery (Greek: Σιμωνόπετρα, literally: "Simon's Rock"). Also Monastery of Simonos Petra (Greek: Μονή Σίμωνος Πέτρας) is an Eastern Orthodox monastery in the monastic state of Mount Athos in Greece. Simonopetra ranks thirteenth in the hierarchy of the Athonite monasteries.
The monastery is located in the southern coast of the Athos peninsula, between the Athonite port of Dafni and Osiou Grigoriou monastery. While the southern coast of Athos is quite rugged in general, the particular site upon which the monastery is built is exceptionally harsh. It is built on top of a single huge rock, practically hanging from a cliff 330 meters over the sea.[1] The monastery has today 50 monks.
History
The monastery was founded during the 13th century by Simon the Athonite, who was later sanctified by the Eastern Orthodox Church as Osios Simon the Myrrohovletes. Tradition holds that Simon, while dwelling in a nearby cave saw a dream in which the Theotokos instructed him to build a monastery on top of the rock, promising him that she would protect and provide for him and the monastery. The original monastery was called by Simon "New Bethlehem" (Greek: Νέα Βηθλεέμ) and is to this day dedicated to the Nativity of Jesus.
In 1364, the Serbian despot Jovan Ugljesa funded the renovation and expansion of the monastery. In 1581, Simonopetra was destroyed by a fire, in which a large portion of the monks died. Evgenios, the monastery's abbot, travelled to the Danubian Principalities hoping to raise funds to rebuild the monastery. The most important donor was Michael the Brave, Prince of Wallachia, who donated large portions of land as well as money to the monastery. In later years the monastery was also burnt in 1626 and the last great fire happened in 1891, after which the monastery was rebuilt to its current form.
During recent centuries, the monks of the monastery were traditionally from Ionia in Asia Minor. However, during the mid 20th century the brotherhood was greatly thinned out due to great reduction in the influx of new monks. The current thriving brotherhood originates from the Holy Monastery of Great Meteoron in Meteora as in 1973 the Athonite community decided to repopulate the almost abandoned monastery.
Architecture
The monastery consists of several multi-storied buildings, the main being in the place of the original structure, built by Simon. The main building has been described as the "most bold construction of the peninsula".[2] The monks of Simonopetra traditionally count the floors from top to bottom, thus the top floor is the first floor and the bottom floor the last. The monastery is built on top of the underlying massive rock and the rock runs through the lower floors.
The expansion and development of Simon's original structure almost always followed one of the monastery's great fires. Following the 1580 fire and with the funds gathered by abbot Evgenios, the western building was erected. The eastern building was built following the 1891 fire mostly with funds raised in Russia.
Choir
In recent years, the choir of Simonopetra has grown in reputation among Byzantine music specialists and enthusiasts. The monastery has published a series of collections of ecclesiastic Byzantine chants by the choir. Of these, Agni Parthene is the most popular and has earned the choir and the monastery widespread recognition.
Wikipedia
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2nd ASN Conference: “Making Connections”
Loughborough University, U.K.
3-5 September 2012
We live in interesting times. The Arab Spring, Occupy X and anti-austerity protests are only the latest and most visible examples in a long tradition of grassroots social movements in which ordinary people create democratic alternatives to hierarchy and inequality. Here and everywhere, people are getting together and making connections between their own everyday experiences and wider patterns of relationships and power, official and unofficial. They (or we) are making connections with each other, personal and political. New patterns evolve as people experiment with different ways of organising, of relating, of connecting, of thinking. Scholars, artists and activists observe, theorise and participate in various ways, helping to make connections, both in social movements and in the movements of everyday life. Feminists, in particular, have foregrounded intersectional approaches to power, privilege and oppression. Race, class and gender; sexuality, ecology and (dis)ability; age, species and faith -- each of these and more interconnect in numerous ways, both subtle and overt.
The Anarchist Studies Network ( anarchist-studies-network.org.uk/) is hosting a conference to acknowledge, celebrate and deepen these diverse efforts to understand and transform our world, our lives. We want this conference itself to be a space for making connections, both intellectual and personal. It will include a blend of more or less traditional panels, participatory discussions and experiential workshops, extended breaks and social events. This first call is an invitation to propose thematic streams, workshops or panel topics by those who are willing to take a role in organising them. Further calls will invite papers, participation, performance. We're particularly keen to make connections across borders of identities, movements, disciplines and practices. We invite contributions from students, academics and unaffiliated researchers, activists and artists, health practitioners and care workers, trade unionists, community organisers and those without labels. Above all, we would like to nurture a convivial atmosphere in which to make connections with others, explore areas of both overlap and difference, create or simply meet, to learn and to share.
Our intention is for this to be a scholarly conference with a difference. Scholar means both student and teacher. By bringing together a diverse group of participants, who share in common a desire to learn and a commitment to acknowledging and creating alternatives to rigid hierarchies and exploitative relationships, we hope that each of us will have something to offer others and much to learn. The process of organising the conference is decentralised, with the conference initiators welcoming proposals from a diverse range of session organisers covering a wide variety of engaged and engaging topics. We also invite session organisers to consider playful, participatory and/or experimental panel and workshop formats. This might range from a traditional three paper panel followed by a discussion using alternative facilitation techniques (e.g., open space technology, fishbowl, or sitting in a circle with a facilitator) to more interactive workshop-style discussion or experiential sessions. Our intention is not to be transgressive for the sake of it, but to encourage a variety of methods in order to facilitate making connections.
If you're interested in organising a stream or a session but are new to the role, feel free to contact us for advice about what this is likely to involve (you can also see how the 1st Anarchist Studies Network Conference in September 2008 was organised by linking to the following web page, where thematic streams and their organisers are indicated in bold print: www.anarchist-studies-network.org.uk/documents/Final%20Sc...). Likewise, if you'd like to do something a bit playful or different, but are not sure how or just need a little advice, please get in touch. Finally, if you are keen to be involved in a session, but not wanting to take on the responsibility of organising one, let us know and we'll see if we can match you up.
Topics we'd love to see explored include:
Occupy X
Race & Radical Politics
The Arab Spring
Anarchism & Feminism
Embodiment & Practices of Freedom
Anarchist/Queer
Alternatives to Capitalism
Direct Democracy in Action
Revolutionary Theory and Practice
Science, Technology and Ecology
Non-Western Anarchisms
Anarchism and Utopianism
Class-Struggle Politics and Anarcho-Syndicalism
Anarchist History
Anarchism & Religion
Post-anarchism
Anarchy and Education
Politics & Emotion
Art, Literature & Social Transformation
(Dis)ability
Nurturing Autonomy
Zapatismo, Via Campesina
Borders, Walls & Fences
Spaces of Resistance
And others we've not yet thought of. We welcome surprises. Please send your proposals (no more than 500 words) by 31st January 2012 to Alexandre Christoyannopoulos and Ruth Kinna .
With warm regards, Conference Initiators
Matthew Adams, Alexandre Christoyannopoulos, Laurence Davis, Oisín Gilmore, Jamie Heckert, Petar Jandric, Ruth Kinna, Alex Prichard, Chris Rossdale & Matt Wilson
Most people are familiar with Maslow's Hierarchy of Needs but do we consider the underlying structure of science when trying to determine why we behave the way we do.
From:
blog.createdebate.com/2008/04/07/how-to-write-strong-argu...
I used the creative commons license and am giving attribution.
Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.
Here's a selection of unusual religious badges that have been identified. Most of these badges date to between the 1950's and the 1970's. They are all relatively common except for the SHCJ badge which is rare.
For size reference, the CWL badge measures 7/8" x 7/8" (about 23mm x 23mm).
CYMS (Catholic Young Men's Society)
The CYMS was established in 1849 by Father Richard Baptist O'Brien to serve as a spiritual and social organisation primarily for young Catholic men. Founded in Limerick, the number of CYMS branches grew and at its peak membership during the 1950's there were over a hundred branches in Ireland. The first CYMS in England was founded at Sheffield in 1854. There are 17 branches in Ireland (as at 1999) and women were admitted for the first time from 1984.
www.irishtimes.com/news/cyms-marks-150th-birthday-convinc...
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SHCJ (Society of the Holy Child Jesus)
The CHCJ founded by Cornelia Connelly in 1846 and is an international congregation within the Catholic Church. Their first religious House opened at Derby and today the SHCJ has about 80 Sisters working and living throughout Europe, mostly in Britain and Ireland.
www.shcj.org/european/our-story/our-presence-in-europe/
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CWL (Catholic Women's League of England & Wales)
The CWL was founded in 1906 and today, is represented in over 200 hundred parishes in dioceses across England and Wales.
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PBS (Prayer Book Society)
The PBS was founded in 1972 as a charity organisation within the Anglican Church. The PBS advocates for the advancement of the Christian religion as set forth in the 1662 Book of Common Prayer. Their main concerns is to preserve the liturgy of the Book of Common Prayer in the face of new alternatives brought into the Church of England, such as the Alternative Service Book (1980) and Common Worship (2000)..
Festival Internazionale di Performance Art - 9-10 Giugno, Torino, Italia 2012.Il T.P.A. Festival nasce con lo scopo di diffondere la Performance Art e di creare un’occasione di scambio tra artisti italiani e internazionali. PERFORMANCE LIVE08.06.2012 dalle h.21.00T.P.A. Pre-festival, Cittadellarte-Fondazione Pistoletto, Biella Chiara Curinga/Erica Fortunato (IT), Soledad Burçak Konukman /Nejat Satı (TR), Hierarchy of Pyramid Nathaniel Katz (CA/US), Getting inside my Computer Paolo Angelosanto (IT), For love only for love 09.06.2012 dalle h.18,30 T.P.A. festival, GreenBox, Torino Burçak Konukman /Nejat Satı (TR), Hierarchy of Pyramid Arrivsceccarelli (IT), Veglia di compleanno Chiara Curinga/Erica Fortunato (IT), Soledad Nathaniel Katz (CA/US), Getting inside my Computer Riccardo Santoro (IT), Invisibili (installazione). 10.06.2012 h.16,30 studio Stefano Giorgi, TorinoManuela Centrone (IT/FR), EStasi10.06.2012 dalle h.19.00 GreenBox, TorinoValentina Murabito/Vinzenz Fengler (IT/DE), Il luogo visivo del silenzioSara Pathirane (FI), CrisalideMichela Depetris (IT), Penelope SyndromeNatasa Korosec (HR), PossibilityPaolo Angelosanto (IT), For love only for loveRiccardo Santoro (IT), Invisibili (installazione)VIDEO SCREENINGSky Thomas Fairchild-Waller (1987, Canada. Vive e lavora a Toronto)-Hegemonic Masculinity/Preminenza mascolinaMeditazione sulle gerarchie di genere presenti nei concetti di mascolinità e di omossessualità.-Les Mots et les Choses/Le parole e le coseEstratti di testi di Michel Focault e Hemingway per esaminare la costruzione e la revisione ideologica di genere della grammatica.Annaclara Di Biase (1977, Torino. Vive e lavora a Castelfidardo, Ancona)-AgathaPortando l’attenzione su quella parte anatomica che più rappresenta l’essere donna, l’azione riflette sul corpo femminile nella società contemporanea. Il seno separato dal corpo diventa massa di plastina rosa che viene modellata, manipolata, impastata con un intervento scultoreo e culinario allo stesso tempo.Carlos Llavata (1964, Valencia. Vive e lavora a Madrid)-The Hunter/Il cacciatoreRiflessioni che riguardano le relazioni tra magia, sesso, cartoni animati … un’azione performativa legata a una delle principali paranoie concettuali dei nostri tempi.Cristina Mirandola (1974, Bologna. Vive e lavora a Biella)-Pegni d’amore (dittico)Sono due brevi azioni di una donna in vestaglia con il capo coperto da una maschera di feltro. Doni, parole, segreti. E' tutto ciò che torna, come le macchie che emergono dai tessuti bianchi. Bartolomè Ferrando (1955, Valencia. Vive e lavora in Spagna)-Novela-Menu-Poema sonoroPrendo sempre immagini poetiche come punto di partenza per il mio lavoro. La sfera poetica mi aiuta a costruire pezzi e strutture che posso usare per approcciarmi all’area della musica, della scultura, dell’azione.Guido Salvini (1962, Torino. Vive e lavora a Torino)-Prova di resistenza/strenght test 2”Una mano tenta di scrivere l'articolo 21 della Costituzione italiana, un'altra mano cerca di impedirglielo.Art.21 della Costituzione italianaTutti hanno diritto di manifestare liberamente il proprio pensiero con la parola, lo scritto e ogni altro mezzo di diffusione.Marika Dimattia (1986, Altamura. Vve e lavora a Bologna)-Maria FarrarIspirato alla poesia di Bertold Brecht “Della infanticida Maria Farrar”.Michela Depetris (1984,Torino. Vive e lavora a Torino)-Let the sunshine in 5’ minMi domando se sia possibile vivere il tempo come mera respirazione, a volte sembra che siamo fatti di tempo.Nadia Gomez Kiener ( Vive e lavora in Argentina)-Performance B2 (Sin titulo)La performer adotta un atteggiamento sgradevole e poco femminile, vuole essere il meno attraente possibile. Cercando di ribaltare una situazione che le donne vivono quotidianamente, flirta con tutti gli umomini che le camminano di fronte mentre si tocca la pancia gravida.Ruth Vigueras Bravo (1981 Mexico. Vive e lavora in Messico)-Viva Mexico! 1 -Viva Mexico! 2 -Viva mexico! 3Attraverso l’utilizzo dissacrante di alcuni simboli che rapprensentano il suo Paese, l’artista critica l’uso illegittimo del potere pubblico per il guadagno privato, generando una riflessione sulla situazione politica messicana durante gli ultimi sette mandati presidenziali.Silvio De Gracia (1973, Buenos Aires. Vive e lavora in Argentina)-Personal DuchampDialogo visivo e spirituale tra l’artista e l’orinatoio di Marcel Duchamp.BBB Johannes Deimling (1969, Andernach. Vive e lavora in Germania)-Wille (Will)26’min-Shamrock “for you” 17’minDeimling non è interessato a raccontare storie ma piuttosto a trasformare le sue osservazioni in immagini fisiche che possano essere, nella loro intensità, un’esperienza per tutti.Tamara Platisa & Sasa Rajsic (Yugoslavia, vivono e lavoran a Toronto e Helsinki)-Tamara. Sasa. Tamara! Sasa!I performer sono uno di fronte all’altra e si chiamano a vicenda compiendo uno sforzo fisico percomunicare. Mentre emettono suoni con la voce creano una linea invisibile.Hyslom (JP)-Documentation of HysteresisAttraverso questa opera, Hyslom, collettivo artistico originario di Kyoto, mira a portare alla superficie le caratteristiche, i sistemi, I fenomeni naturali, e altri elementi che sono scomparsi o che sono stati nascosti dalle trasformazioni che le città e I paesaggi hanno subito.10.06.2012 h.21,30-23.00 GreenBox, TorinoOut of limitsa cura di Silvio De Gracia10.06. 2012 h.17.00-19.00 GreenBox, TorinoJulieta Maria, Exercises in faith:soilRicardo Miguel Hernandez, InvencibleDeng Da Fei, China AstronautBaggentos-Rudolf, BalloonsMiguel Rodriguez Sepulveda, CachetadaRenny Barrios, Propuesta corporal para la solucion de 7 problemas de la escultura-ejecuciones furtivasT.P.A. (Torino Performance Art) è la prima edizione di un Festival dedicato alla promozione e alla diffusione della Performance Art contemporanea nelle sue pratiche più varie, sperimentali e indipendenti. L’obbiettivo è quello di attirare l’attenzione sulla vivace comunità di artisti che si dedicano a questa forma di espressione e di facilitare la connessione tra questi e il pubblico.Il progetto si avvale dell’ospitalità e della collaborazione dell’Accademia Albertina di Belle Arti, della Fondazione Pistoletto di Biella, di Novalis Contemporary Art. Sono coinvolte inoltre differenti realtà artistiche indipendenti: GreenBox, Studio Stefano Giorgi, Bin 11, Collettiva dell’Arte.Direzione Artistica: Manuela Macco Assistente: Annalisa TorrettaSpecial thanks to: Guido Salvini, Michela Depetris, Annalisa Torretta, Cristina Mirandola, Juan Esteban, Paola Spola, Elisabetta Vacca, Monica Saccomandi, Gianfranco Costagliola, Silvia Iracà, Elena Pugliese, Carlotta Laugelli, Leandro Franza, Paola Nepote, Gabriele Fracassi, Roberta Minici, Stefano Giorgi, Alessandra Valsecchi, Antonio Lagrotta, Lanificio San Salvatore.
Festival Internazionale di Performance Art - 9-10 Giugno, Torino, Italia 2012.Il T.P.A. Festival nasce con lo scopo di diffondere la Performance Art e di creare un’occasione di scambio tra artisti italiani e internazionali. PERFORMANCE LIVE08.06.2012 dalle h.21.00T.P.A. Pre-festival, Cittadellarte-Fondazione Pistoletto, Biella Chiara Curinga/Erica Fortunato (IT), Soledad Burçak Konukman /Nejat Satı (TR), Hierarchy of Pyramid Nathaniel Katz (CA/US), Getting inside my Computer Paolo Angelosanto (IT), For love only for love 09.06.2012 dalle h.18,30 T.P.A. festival, GreenBox, Torino Burçak Konukman /Nejat Satı (TR), Hierarchy of Pyramid Arrivsceccarelli (IT), Veglia di compleanno Chiara Curinga/Erica Fortunato (IT), Soledad Nathaniel Katz (CA/US), Getting inside my Computer Riccardo Santoro (IT), Invisibili (installazione). 10.06.2012 h.16,30 studio Stefano Giorgi, TorinoManuela Centrone (IT/FR), EStasi10.06.2012 dalle h.19.00 GreenBox, TorinoValentina Murabito/Vinzenz Fengler (IT/DE), Il luogo visivo del silenzioSara Pathirane (FI), CrisalideMichela Depetris (IT), Penelope SyndromeNatasa Korosec (HR), PossibilityPaolo Angelosanto (IT), For love only for loveRiccardo Santoro (IT), Invisibili (installazione)VIDEO SCREENINGSky Thomas Fairchild-Waller (1987, Canada. Vive e lavora a Toronto)-Hegemonic Masculinity/Preminenza mascolinaMeditazione sulle gerarchie di genere presenti nei concetti di mascolinità e di omossessualità.-Les Mots et les Choses/Le parole e le coseEstratti di testi di Michel Focault e Hemingway per esaminare la costruzione e la revisione ideologica di genere della grammatica.Annaclara Di Biase (1977, Torino. Vive e lavora a Castelfidardo, Ancona)-AgathaPortando l’attenzione su quella parte anatomica che più rappresenta l’essere donna, l’azione riflette sul corpo femminile nella società contemporanea. Il seno separato dal corpo diventa massa di plastina rosa che viene modellata, manipolata, impastata con un intervento scultoreo e culinario allo stesso tempo.Carlos Llavata (1964, Valencia. Vive e lavora a Madrid)-The Hunter/Il cacciatoreRiflessioni che riguardano le relazioni tra magia, sesso, cartoni animati … un’azione performativa legata a una delle principali paranoie concettuali dei nostri tempi.Cristina Mirandola (1974, Bologna. Vive e lavora a Biella)-Pegni d’amore (dittico)Sono due brevi azioni di una donna in vestaglia con il capo coperto da una maschera di feltro. Doni, parole, segreti. E' tutto ciò che torna, come le macchie che emergono dai tessuti bianchi. Bartolomè Ferrando (1955, Valencia. Vive e lavora in Spagna)-Novela-Menu-Poema sonoroPrendo sempre immagini poetiche come punto di partenza per il mio lavoro. La sfera poetica mi aiuta a costruire pezzi e strutture che posso usare per approcciarmi all’area della musica, della scultura, dell’azione.Guido Salvini (1962, Torino. Vive e lavora a Torino)-Prova di resistenza/strenght test 2”Una mano tenta di scrivere l'articolo 21 della Costituzione italiana, un'altra mano cerca di impedirglielo.Art.21 della Costituzione italianaTutti hanno diritto di manifestare liberamente il proprio pensiero con la parola, lo scritto e ogni altro mezzo di diffusione.Marika Dimattia (1986, Altamura. Vve e lavora a Bologna)-Maria FarrarIspirato alla poesia di Bertold Brecht “Della infanticida Maria Farrar”.Michela Depetris (1984,Torino. Vive e lavora a Torino)-Let the sunshine in 5’ minMi domando se sia possibile vivere il tempo come mera respirazione, a volte sembra che siamo fatti di tempo.Nadia Gomez Kiener ( Vive e lavora in Argentina)-Performance B2 (Sin titulo)La performer adotta un atteggiamento sgradevole e poco femminile, vuole essere il meno attraente possibile. Cercando di ribaltare una situazione che le donne vivono quotidianamente, flirta con tutti gli umomini che le camminano di fronte mentre si tocca la pancia gravida.Ruth Vigueras Bravo (1981 Mexico. Vive e lavora in Messico)-Viva Mexico! 1 -Viva Mexico! 2 -Viva mexico! 3Attraverso l’utilizzo dissacrante di alcuni simboli che rapprensentano il suo Paese, l’artista critica l’uso illegittimo del potere pubblico per il guadagno privato, generando una riflessione sulla situazione politica messicana durante gli ultimi sette mandati presidenziali.Silvio De Gracia (1973, Buenos Aires. Vive e lavora in Argentina)-Personal DuchampDialogo visivo e spirituale tra l’artista e l’orinatoio di Marcel Duchamp.BBB Johannes Deimling (1969, Andernach. Vive e lavora in Germania)-Wille (Will)26’min-Shamrock “for you” 17’minDeimling non è interessato a raccontare storie ma piuttosto a trasformare le sue osservazioni in immagini fisiche che possano essere, nella loro intensità, un’esperienza per tutti.Tamara Platisa & Sasa Rajsic (Yugoslavia, vivono e lavoran a Toronto e Helsinki)-Tamara. Sasa. Tamara! Sasa!I performer sono uno di fronte all’altra e si chiamano a vicenda compiendo uno sforzo fisico percomunicare. Mentre emettono suoni con la voce creano una linea invisibile.Hyslom (JP)-Documentation of HysteresisAttraverso questa opera, Hyslom, collettivo artistico originario di Kyoto, mira a portare alla superficie le caratteristiche, i sistemi, I fenomeni naturali, e altri elementi che sono scomparsi o che sono stati nascosti dalle trasformazioni che le città e I paesaggi hanno subito.10.06.2012 h.21,30-23.00 GreenBox, TorinoOut of limitsa cura di Silvio De Gracia10.06. 2012 h.17.00-19.00 GreenBox, TorinoJulieta Maria, Exercises in faith:soilRicardo Miguel Hernandez, InvencibleDeng Da Fei, China AstronautBaggentos-Rudolf, BalloonsMiguel Rodriguez Sepulveda, CachetadaRenny Barrios, Propuesta corporal para la solucion de 7 problemas de la escultura-ejecuciones furtivasT.P.A. (Torino Performance Art) è la prima edizione di un Festival dedicato alla promozione e alla diffusione della Performance Art contemporanea nelle sue pratiche più varie, sperimentali e indipendenti. L’obbiettivo è quello di attirare l’attenzione sulla vivace comunità di artisti che si dedicano a questa forma di espressione e di facilitare la connessione tra questi e il pubblico.Il progetto si avvale dell’ospitalità e della collaborazione dell’Accademia Albertina di Belle Arti, della Fondazione Pistoletto di Biella, di Novalis Contemporary Art. Sono coinvolte inoltre differenti realtà artistiche indipendenti: GreenBox, Studio Stefano Giorgi, Bin 11, Collettiva dell’Arte.Direzione Artistica: Manuela Macco Assistente: Annalisa TorrettaSpecial thanks to: Guido Salvini, Michela Depetris, Annalisa Torretta, Cristina Mirandola, Juan Esteban, Paola Spola, Elisabetta Vacca, Monica Saccomandi, Gianfranco Costagliola, Silvia Iracà, Elena Pugliese, Carlotta Laugelli, Leandro Franza, Paola Nepote, Gabriele Fracassi, Roberta Minici, Stefano Giorgi, Alessandra Valsecchi, Antonio Lagrotta, Lanificio San Salvatore.
Festival Internazionale di Performance Art - 9-10 Giugno, Torino, Italia 2012.Il T.P.A. Festival nasce con lo scopo di diffondere la Performance Art e di creare un’occasione di scambio tra artisti italiani e internazionali. PERFORMANCE LIVE08.06.2012 dalle h.21.00T.P.A. Pre-festival, Cittadellarte-Fondazione Pistoletto, Biella Chiara Curinga/Erica Fortunato (IT), Soledad Burçak Konukman /Nejat Satı (TR), Hierarchy of Pyramid Nathaniel Katz (CA/US), Getting inside my Computer Paolo Angelosanto (IT), For love only for love 09.06.2012 dalle h.18,30 T.P.A. festival, GreenBox, Torino Burçak Konukman /Nejat Satı (TR), Hierarchy of Pyramid Arrivsceccarelli (IT), Veglia di compleanno Chiara Curinga/Erica Fortunato (IT), Soledad Nathaniel Katz (CA/US), Getting inside my Computer Riccardo Santoro (IT), Invisibili (installazione). 10.06.2012 h.16,30 studio Stefano Giorgi, TorinoManuela Centrone (IT/FR), EStasi10.06.2012 dalle h.19.00 GreenBox, TorinoValentina Murabito/Vinzenz Fengler (IT/DE), Il luogo visivo del silenzioSara Pathirane (FI), CrisalideMichela Depetris (IT), Penelope SyndromeNatasa Korosec (HR), PossibilityPaolo Angelosanto (IT), For love only for loveRiccardo Santoro (IT), Invisibili (installazione)VIDEO SCREENINGSky Thomas Fairchild-Waller (1987, Canada. Vive e lavora a Toronto)-Hegemonic Masculinity/Preminenza mascolinaMeditazione sulle gerarchie di genere presenti nei concetti di mascolinità e di omossessualità.-Les Mots et les Choses/Le parole e le coseEstratti di testi di Michel Focault e Hemingway per esaminare la costruzione e la revisione ideologica di genere della grammatica.Annaclara Di Biase (1977, Torino. Vive e lavora a Castelfidardo, Ancona)-AgathaPortando l’attenzione su quella parte anatomica che più rappresenta l’essere donna, l’azione riflette sul corpo femminile nella società contemporanea. Il seno separato dal corpo diventa massa di plastina rosa che viene modellata, manipolata, impastata con un intervento scultoreo e culinario allo stesso tempo.Carlos Llavata (1964, Valencia. Vive e lavora a Madrid)-The Hunter/Il cacciatoreRiflessioni che riguardano le relazioni tra magia, sesso, cartoni animati … un’azione performativa legata a una delle principali paranoie concettuali dei nostri tempi.Cristina Mirandola (1974, Bologna. Vive e lavora a Biella)-Pegni d’amore (dittico)Sono due brevi azioni di una donna in vestaglia con il capo coperto da una maschera di feltro. Doni, parole, segreti. E' tutto ciò che torna, come le macchie che emergono dai tessuti bianchi. Bartolomè Ferrando (1955, Valencia. Vive e lavora in Spagna)-Novela-Menu-Poema sonoroPrendo sempre immagini poetiche come punto di partenza per il mio lavoro. La sfera poetica mi aiuta a costruire pezzi e strutture che posso usare per approcciarmi all’area della musica, della scultura, dell’azione.Guido Salvini (1962, Torino. Vive e lavora a Torino)-Prova di resistenza/strenght test 2”Una mano tenta di scrivere l'articolo 21 della Costituzione italiana, un'altra mano cerca di impedirglielo.Art.21 della Costituzione italianaTutti hanno diritto di manifestare liberamente il proprio pensiero con la parola, lo scritto e ogni altro mezzo di diffusione.Marika Dimattia (1986, Altamura. Vve e lavora a Bologna)-Maria FarrarIspirato alla poesia di Bertold Brecht “Della infanticida Maria Farrar”.Michela Depetris (1984,Torino. Vive e lavora a Torino)-Let the sunshine in 5’ minMi domando se sia possibile vivere il tempo come mera respirazione, a volte sembra che siamo fatti di tempo.Nadia Gomez Kiener ( Vive e lavora in Argentina)-Performance B2 (Sin titulo)La performer adotta un atteggiamento sgradevole e poco femminile, vuole essere il meno attraente possibile. Cercando di ribaltare una situazione che le donne vivono quotidianamente, flirta con tutti gli umomini che le camminano di fronte mentre si tocca la pancia gravida.Ruth Vigueras Bravo (1981 Mexico. Vive e lavora in Messico)-Viva Mexico! 1 -Viva Mexico! 2 -Viva mexico! 3Attraverso l’utilizzo dissacrante di alcuni simboli che rapprensentano il suo Paese, l’artista critica l’uso illegittimo del potere pubblico per il guadagno privato, generando una riflessione sulla situazione politica messicana durante gli ultimi sette mandati presidenziali.Silvio De Gracia (1973, Buenos Aires. Vive e lavora in Argentina)-Personal DuchampDialogo visivo e spirituale tra l’artista e l’orinatoio di Marcel Duchamp.BBB Johannes Deimling (1969, Andernach. Vive e lavora in Germania)-Wille (Will)26’min-Shamrock “for you” 17’minDeimling non è interessato a raccontare storie ma piuttosto a trasformare le sue osservazioni in immagini fisiche che possano essere, nella loro intensità, un’esperienza per tutti.Tamara Platisa & Sasa Rajsic (Yugoslavia, vivono e lavoran a Toronto e Helsinki)-Tamara. Sasa. Tamara! Sasa!I performer sono uno di fronte all’altra e si chiamano a vicenda compiendo uno sforzo fisico percomunicare. Mentre emettono suoni con la voce creano una linea invisibile.Hyslom (JP)-Documentation of HysteresisAttraverso questa opera, Hyslom, collettivo artistico originario di Kyoto, mira a portare alla superficie le caratteristiche, i sistemi, I fenomeni naturali, e altri elementi che sono scomparsi o che sono stati nascosti dalle trasformazioni che le città e I paesaggi hanno subito.10.06.2012 h.21,30-23.00 GreenBox, TorinoOut of limitsa cura di Silvio De Gracia10.06. 2012 h.17.00-19.00 GreenBox, TorinoJulieta Maria, Exercises in faith:soilRicardo Miguel Hernandez, InvencibleDeng Da Fei, China AstronautBaggentos-Rudolf, BalloonsMiguel Rodriguez Sepulveda, CachetadaRenny Barrios, Propuesta corporal para la solucion de 7 problemas de la escultura-ejecuciones furtivasT.P.A. (Torino Performance Art) è la prima edizione di un Festival dedicato alla promozione e alla diffusione della Performance Art contemporanea nelle sue pratiche più varie, sperimentali e indipendenti. L’obbiettivo è quello di attirare l’attenzione sulla vivace comunità di artisti che si dedicano a questa forma di espressione e di facilitare la connessione tra questi e il pubblico.Il progetto si avvale dell’ospitalità e della collaborazione dell’Accademia Albertina di Belle Arti, della Fondazione Pistoletto di Biella, di Novalis Contemporary Art. Sono coinvolte inoltre differenti realtà artistiche indipendenti: GreenBox, Studio Stefano Giorgi, Bin 11, Collettiva dell’Arte.Direzione Artistica: Manuela Macco Assistente: Annalisa TorrettaSpecial thanks to: Guido Salvini, Michela Depetris, Annalisa Torretta, Cristina Mirandola, Juan Esteban, Paola Spola, Elisabetta Vacca, Monica Saccomandi, Gianfranco Costagliola, Silvia Iracà, Elena Pugliese, Carlotta Laugelli, Leandro Franza, Paola Nepote, Gabriele Fracassi, Roberta Minici, Stefano Giorgi, Alessandra Valsecchi, Antonio Lagrotta, Lanificio San Salvatore.
www.arqueologiadelperu.com/scarlet-macaw-skeletons-point-...
New work on the skeletal remains of scarlet macaws found in an ancient Pueblo settlement indicates that social and political hierarchies may have emerged in the American Southwest earlier than previously thought.
This skull of a scarlet macaw (Ara macao) was excavated from Pueblo Bonito in New Mexico by researchers from the American Museum of Natural History in 1897 [Credit: © AMNH/D. Finnin]
Researchers determined that the macaws, whose brilliant red and blue feathers are highly prized in Pueblo culture, were persistently traded hundreds of miles north from Mesoamerica starting in the early 10th century, at least 150 years before the origin of hierarchy is usually attributed.
The findings, published today in the Proceedings of the National Academy of Sciences, suggest that the acquisition and control of macaws, along with other valued items like chocolate and turquoise, may have facilitated the development of hierarchy in the society.
"By directly dating the macaws, we have demonstrated the existence of long-distance networks throughout much of this settlement's history," said Adam Watson, a postdoctoral fellow in the American Museum of Natural History's Division of Anthropology and lead author on the paper.
"Our findings suggest that rather than the acquisition of macaws being a side effect of the rise of Chacoan society, there was a causal relationship. The ability to access these trade networks and the ritual power associated with macaws and their feathers may have been important to forming these hierarchies in the first place."
Archaeologists have known for more than a century that the pre-Hispanic Pueblo people of the American Southwest acquired goods from Mesoamerica, including marine shells from the Gulf of California, raw copper and crafted copper bells from west Mexico, cacao from the Neotropics, and tropical birds.
Scarlet macaws (Ara macao) have been recovered from many settlements in the Southwest, particularly at Chaco Canyon in northwestern New Mexico, a major cultural center that was densely occupied between about AD 800 and 1200 and had more than a dozen multi-storied "great houses."
A modern view of Pueblo Bonito, the largest of the 'great houses' in the pre-Hispanic cultural center of Chaco Canyon, which was occupied between about AD 900 and1500. Pueblo Bonito had about 650 rooms [Credit: © AMNH/A. Watson]
The birds are native to humid forests in tropical America--primarily the Gulf Coast region of Mexico, Central America, and northern sections of South America--so their presence at Chaco Canyon indicates the existence of long-distance procurement networks often characteristic of a complex society. It was traditionally thought that the Pueblo people did not bring these items back to the settlement until AD 1040, the start of an era of rapid architectural expansion called the Chaco florescence.
But new radiocarbon dating of artifacts discovered in the settlement is changing that view.
First excavated by a Museum-led team in 1896, the largest of the Chaco Canyon great houses was Pueblo Bonito, which had about 650 rooms. Among those rooms was one particularly unusual crypt: Room 33, a single small structure in the oldest area of the Pueblo, that contained 14 human bodies along with significant amounts of symbolically important items like turquoise, shell, and flutes. Two of the bodies were buried below a rare wooden floor with the majority of the grave goods, signaling the special treatment of elite individuals at Pueblo Bonito.
"In general, most researchers have argued that emergence of hierarchy, and of extensive trade networks that extended into Mexico, would coincide with what we see as other aspects of the Chaco florescence: roads being built outward from Chaco and the formation of what are called Chaco outliers that mimic the architecture seen in the cultural center," said Stephen Plog, professor of archaeology at the University of Virginia and a co-author on the paper. "For many years, that was the dominant model."
But in 2010, radiocarbon dating led by Plog showed that the two burials happened no later than AD 775-875.
"Based on these results, which call into question when the formation of the hierarchy actually began in Chaco, we decided to take another look at the macaws," Watson said.
The Hyde Exploring Expedition (1896-1900), sponsored by the American Museum of Natural History, excavated the now well-known site of Pueblo Bonito in Chaco Canyon, a pre-Hispanic cultural center in northwestern New Mexico [Credit: © AMNH Library/411866]
Ethnographically, scarlet macaws are particularly significant in Pueblo cosmology, where based on directional association by color (red/orange), they tend to designate southern positions. Ritual use of macaw feathers on prayer sticks, costumes, and masks to communicate prayers to gods is well recorded. The acquisition and control of scarlet macaws was likely the province of social and religious elites.
"Birds are a part of nature, but they are also agents with magical properties that can be put to human use," said Peter Whiteley, a curator in the Museum's Division of Anthropology and a co-author on the paper. "Flight or just the appearance of certain birds or the use of their feathers is believed to motivate the fall of rain or snow, as well as the seasons, the sunshine, and the heat."
The remains of 30 macaws have been found in Pueblo Bonito, including 14 in a single structure: Room 38, which, based on the amount of guano detected on the floor, was likely a sort of aviary. Previous attempts at indirect dating of macaw skeletons concluded that they were obtained during the Chaco florescence, but the accuracy of the methods used, based on associated tree rings and ceramic type frequencies, is questionable. With radiocarbon dating, the researchers examined 14 Pueblo Bonito macaw skeletons that are currently housed in the Museum's collection.
Direct radiocarbon dating of macaw skeletons found that 12 of the 14 sampled macaws predate the Chaco florescence, with about half of them dating to the late 800s and mid-900s. The acquisition of these birds would have been a formidable task, requiring the removal of fledglings from the nest soon after their birth before traveling between 1,800 and 2,500 kilometers (about 1,120-1,550 miles) on foot back to Chaco.
"We propose that the hierarchical sociopolitical foundation of Chacoan society was established during the initial era of construction of the great houses and that this foundation was reinforced during the late ninth and 10th centuries by the acquisition of scarlet macaws and other cosmologically powerful agents from Mesoamerica," Plog said. "Sociopolitical hierarchies evolved over the course of nearly two centuries before taking the more visible forms seen in the Chaco florescence. As in many parts of the world, this was a long-term process rather than a brief, abrupt transformation."Source: American Museum of Natural History [June 22, 2015]