Lydene er musikkens græsrødder. Nogle betragtninger over lyd og rum

Sound is characterised by distinctive phenomenological qualities. It creates a ‘sound scape’ that - as space sensed through the ears - wraps itself around the listener as an intimate atmosphere, without distance and clear dimensionality. Sounds are deeply interwoven with religious symbolism, e.g. as shamans incantate or pick up the auditory signals of gods or spirits. Cultural sound control spaces. Nostalgically, the church bells filled the parish, as today the ‘holy noise’ of traffic filis the urban spaces. But noise can also be used as artistic material, as in the works of the composer Russolo or in the planned landscape opera created by Winther, Hagen and the author

Anders Linde-Laursen & Jan Olof Nilsson (red.): Mojligheternas landskap: Nordiska kulturanalyser

Mojligheternas landskap: Nordiska kulturanalyser Anmeldes af Bror Westman

Susan Kent (ed.): Domestic Architecture and the Use of Space - An Interdisciplinary Cross-Cultural Study

Susan Kent (ed.): Domestic Architecture and the Use of Space - An Interdisciplinary Cross-Cultural Study Anmeldes af Bror Westma

VIND, MENNESKER, LYD

Sound has a special power, for it is both outside and inside the human being. Manipulation of this power of sound in relation to sight, image and things plays an important role in the use of three different instruments: the bullroarer, the aeolean harp and the aeolean organ, all of which have an intimate relation to the wind. The bullroarer is a useful starting point for cross-cultural thinking. Mythology helps to express the relations of power in society, especially as crystallized in the bullroarer, which dramatizes the relation between sight and sound. Each instrument has its own physical possibilities that make it usable in society. Initiation rites, philosophy and spirit travel are all connected through recognition of the wind’s power. In recent times artists are working to combine sound and image by electronics, video, sculpture and -in my case – the wind. &nbsp

ENQUETE: Børns egne huler

ENQUETE: Bror Westman: Børns egne hule

Pratos e mais pratos: louças domésticas, divisões culturais e limites sociais no Rio de Janeiro, século XIX

Reply to ten comments on a paper published in the last issue of this journal. The discussion follows along six main lines: History museums, identity, ideology and the category of nation; the need of material collections and their modalities: patrimonial, operational, virtual; theater versus laboratory; visitors and their ambiguities; Public History: the museum and the academy.Resposta aos comentários de dez especialistas que contribuíram no debate de texto publicado no último número desta revista. A discussão orientou-se segundo seis tópicos principais: museus históricos, identidade, ideologia e a categoria de nação; a necessidade de acervos materiais e suas modalidades: acervo patrimonial, operacional, virtual; teatro versus laboratório; o público e suas ambigüidades; História Pública: o museu e a Academia

MATACOMYTER

Bror Westman: Mataco Myths Taking a point of departure in Levi-Strauss’ concept of the myth as movement in different ways, the article deals with Mataco myths as they have been recorded by Niels Fock during his field work among the Mataco of Gran Chaco in the northern part of Argentina between 1958 and 1962. The form of this body of myths is seen as one of variation and movement, and the contents are understood as dealing with becoming a human being, a cultural being. The figures Sipilak, the culture hero, and Tokuah, the bungler, play important roles in the myths. They incamate different principles, rule over different domains, create different phenomena, and act in different ways. Also the elements fire, water, air, and earth are dealt with in the myths. The universe of the myths is static, moving however between different levels, and the identities of the figures of the myths change. The myths are variations of each other and tell about the sensuous sides of life. The myths deal with concrete, tangible experience. &nbsp