A libertação da mão

A oposição entre a mão constantemente disponível do homem e a mão locomotora do quadrúpede constituiu, sob os mais diversos pontos de vista, o objecto da reflexão dos filósofos, dos anatomistas e dos paleontólogos. Apanágio do homo faber, o mais bem organizado instrumento do cérebro de toda a série zoológica, a mão, livre dos seus constrangimentos locomotores, é o símbolo da evolução do homem e, mesmo os trabalhos os mais distantes da metafísica sacrificam involuntariamente ao antropocentrism..

La liberación de la mano

La oposición entre, la mano constantemente disponible del hombre y la mano locomotora del cuadrúpedo constituyó, bajos los más diversos puntos de vista, un motivo de reflexión para los filósofos, los anatomistas y los paleontólogos. Privilegio del homo faber, el instrumento mejor organizado del cerebro de toda la serie zoológica, la mano, libre de sus problemas locomotores, fue el símbolo de la evolución del hombre e incluso los trabajos más distantes de la metafísica sacrificaron involuntari..

La Zoologie mythique des Eskimo : sélection rituelle des matières animales

Leroi-Gourhan . La Zoologie mythique des Eskimo. Sélection rituelle des matières animales. In: La Terre et La Vie, Revue d'Histoire naturelle, tome 7, n°3, 1937. pp. 84-95

Ema

Fig. 1 © Famille Leroi-Gourhan - Photo P. Soulier Le mot « e-ma » signifie « cheval peint ». D’une manière très générale ce sont des peintures sur bois, offertes aux temples pour obtenir l’accomplissement d’un vœu ou à la suite d’une promesse faite dans des circonstances difficiles ou dangereuses. Ce sont donc de véritables ex-voto, parfois exactement assimilables à ceux de l’occident, en particulier pour les bateaux que les marins offrent au temple après avoir couru de grands dangers sur me..

Notes sur le calendrier japonais

Arashiyama, bannière carpes, fête des garçonnets Mai 2009. © F. Joulian Cet article, simple mise en ordre de notes prises sur le terrain, ne prétend pas donner un tableau complet du calendrier japonais mais en tracer quelques unes des grandes lignes. Une première réflexion s’impose devant les faits : qu’il s’agisse du calendrier des fêtes bouddhistes ou shintoïstes, tout se rassemble autour des quatre points culminants de l’année astronomique : équinoxe de printemps, solstice d’été, équinoxe..

Digital Dance-theatre as a Multidimensional Romance Notes on the production of C8's Flatland

This paper is an account of practice-based research and artistic work carried out by the authors in the field of digital dance theatre (C8’s Flatland). The work addresses the question of body-machine interaction from the point of view of a relationship (or digital romance), involving continuous and discontinuous processes of movement characteristic both to humans and technological machines. The essay explores Andre Leroi-Gourhan’s notion of ‘multidimensional graphism’ to speak of a type of digital writing that does not give prevalence to textual writing, to choreographic writing (or the virtual embodied writing of dance), to visuals, or code, but which functions as an amalgam of all these. We speak to Brian Rotman’a idea of gesturo-haptic language, as a kind of lingua franca that enables machines and bodies to relate to one another as part of the same intercommunictaional transaction, and as part of the same creative process for the emergence, and self-emergence of multidimensional artistic form

Archaeology of the Pleistocene-Holocene transition in Portugal: synthesis and prospects

The Tardiglacial of Portugal has been associated with the Magdalenian culture and lithic industries characterized by tool miniaturization, a diversity of microlith types, and the absence of a intentional blade production. The technological characterization, the chronology and the phasing of the Portuguese Magdalenian have been defined based on data recovered from open-air sites of the Estremadura region (Central Portugal). This paper presents an overview of the research undertaken over the last twenty-five years, including results from research and preventive archaeology fieldwork outside this region, namely in the Côa, Sabor and Vouga Valleys (northern Portugal), as well as in the Guadiana Valley and Algarve regions (southern Portugal). Our chronological boundaries are the Greenland Stadial 2-1b and the 8.2 ka event, from Early Magdalenian to Early Mesolithic. Regarding vegetation, deciduous Quercus underwent expansion during the warm phases of the Tardiglacial and retracted during cold ones, when pines increased. After the Solutrean, the faunal assemblages show a decrease in the variability of the represented species and an increase in fish, birds, small mammals and rabbits (Oryctolagus cuniculus). Concerning the cultural sequence, the Middle Magdalenian remains uncharacterised. After the Upper Magdalenian, and thenceforward, the use of local raw materials and of cores-on-flakes (burin or carinated endscraper type) for bladelet production gradually increased. In terms of lithic armatures typology, a four-stage sequence can be discerned: 1) Upper Magdalenian with axial points rather than backed bladelets, quite common in previous phases; 2) Final Magdalenian with an increase in the diversity of armature types; 3) Azilian with geometric microliths, curved backed points (Azilian points) and Malaurie points, and 4) Early Mesolithic without retouched bladelet tools or at best a persistence of Azilian armature types. There were some changes in the Palaeolithic rock art of the Douro basin between phase 3 (Final Magdalenian) and phase 4 (Late Azilian): figurative animal representations give place to animal depictions characterized by their geometrical bodies, often filled-in, and red deer becomes the best-represented animal.FCT: PTDC/EPH-ARQ/0326/2014info:eu-repo/semantics/publishedVersio