Deciphering the Grand Village of the Illinois: A Preliminary Assessment of the Grand Village Research Project

On April 24, 1987, Thomas Emerson at the State Historic Preservation Office received a telephone call from a Chicago lawyer who wanted an answer to a simple question: Are there any laws that protect old Indian villages and graves that are on the National Register? Unfortunately, the answer was a simple “no.” At the time, Emerson did not suspect that this question would initiate a more than four-year struggle to save one of the most important historic sites in the country. The site, known variously as the Zimmerman site, the Grand Village of the Kaskaskia, Old Kaskaskia Village, the Grand Village of the Illinois, or simply llLS13, was purchased by developers who planned to build vacation homes on it. Eventually, after a private and public campaign that reached an international level, Governor James Thompson authorized the Illinois Historic Preservation Agency (IHPA) to seek condemnation of the property to bring it into public ownership. In April 1991, a final settlement was reached and the site was purchased by the state. It is currently under the administration of the IHPA and has been renamed the Grand Village of the Illinois State Historic Site. The Grand Village is the most important surviving village and burial site of the seventeenth-century Illinois Confederacy. In addition, it is the location of the initial French-Illinois contact and of the first Catholic mission in the Illinois Country. The site also contains materials that represent an unbroken sequence of late prehistoric, protohistoric, and Historic Indian cultural development from the ninth to the last quarter of the eighteenth century

Tra il foglio vuoto e lo schermo. Type e token alla prova dell’arte post-mediale

What kind of entities are works of art from an ontological point of view? This question has become canonical in the framework of analytic philosophy. One way of answering the puzzle seemed to be conclusive. It is the hypothesis that all, or the majority of artworks can be identified with types embedded into tokens. To begin with, I will survey how the type-token distinction transitioned from semiotics to ontology. Secondly, I will consider how some contemporary art forms contributed to questioning this approach to the ontology of artworks. Lastly, I will suggest how the nature of types and tokens should be reassessed in order to properly describe artworks in their historical and socially construed nature

Kaw Reservoir--the southern section; report of phase II research of the general plan for investigation of the archaeological resources of Kaw Reservoir, north-central Oklahoma,

Bibliography: p. 91.Mode of access: Internet

Decision Making and the P300 Component of the Cortical Evoked Response

The amplitude of P300, and of other components of the evoked potential, was examined during a task which required Ss to make a response appropriate to the conjoint properties of two rapidly successive visual patterns. In one set of conditions, the task was structured such that both stimuli were needed for the choice judgment. In another set of conditions, the task was changed from choice to simple RT by presenting the patterns in a predictable order. It was observed that P300 was enhanced during the choice RT conditions and that this enhancement was present only for the P300 following the stimulus permitting the choice and not the other, relevant but not decisive, stimulus appearing in close temporal proximity. An appreciable degree of independence between P300 and other components was indicated by the appearance of P300 under conditions in which other evoked potential components were entirely refractory. The data support an account for P300 in terms of poststimulus processes, such as decision making, and not in terms of preparatory adjustments