Palaeolithic ceramic technology: The artistic origins and impacts of a technological innovation

Farbstein, Rebecca; Davies, William

doi:10.1016/j.quaint.2016.11.012

Cited by 17 publications

(10 citation statements)

References 14 publications

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“…Computational imaging, 3D scanning technologies and non-destructive analytical methods have also been applied to figurine assemblages from different spatial and temporal contexts to create 3D models for research and teaching (Morris et al 2018), examine manufacturing and production processes (Applbaum & Applbaum 2002; Delvaux et al 2017; Farbstein & Davies 2017; Kreiter et al 2014; Pavel et al 2013), explore figurines (and carved stone balls) as artefacts-in-process (Jones & Díaz-Guardamino 2019), analyse their chemical composition (Forouzan et al 2012; Kantarelou et al 2015), as well as experiment with computational algorithms that would enable fragment matching (Kaimaris et al 2011), hypothetical reconstructions (Papantoniou et al 2012) and the identification, extraction and classification of surface characteristics (Counts et al 2016; Vassallo 2016). In most cases, digital research has focused on 3D documentation and technological features of figurine making, with little or no discussion about the potential of the methods to enhance the sensory dimension of the artefacts in comparison to conventional modes of representation.…”

Section: Figurine Studies and Sensorialitymentioning

confidence: 99%

Digital Sensoriality: The Neolithic Figurines from Koutroulou Magoula, Greece

Papadopoulos¹,

Hamilakis²,

Kyparissi‐Apostolika³

et al. 2019

CAJ

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The image-based discourse on clay figurines that treated them as merely artistic representations, the meaning of which needs to be deciphered through various iconological methods, has been severely critiqued and challenged in the past decade. This discourse, however, has largely shaped the way that figurines are depicted in archaeological iterations and publications, and it is this corpus of images that has in turn shaped further thinking and discussion on figurines, especially since very few people are able to handle the original, three-dimensional, physical objects. Building on the changing intellectual climate in figurine studies, we propose here a framework that treats figurines as multi-sensorial, affective and dynamic objects, acting within distinctive, relational fields of sensoriality. Furthermore, we situate a range of digital, computational methods within this framework in an attempt to deprive them of their latent Cartesianism and mentalism, and we demonstrate how we have applied them to the study of Neolithic figurines from the site of Koutroulou Magoula in Greece. We argue that such methodologies, situated within an experiential framework, not only provide new means of understanding, interpretation and dissemination, but, most importantly, enable researchers and the public to explore the sensorial affordances and affective potential of things, in the past as well as in the present.

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Section: Figurine Studies and Sensorialitymentioning

confidence: 99%

Digital Sensoriality: The Neolithic Figurines from Koutroulou Magoula, Greece

Papadopoulos¹,

Hamilakis²,

Kyparissi‐Apostolika³

et al. 2019

CAJ

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“…Diversifikasi desain produk keramik dengan mempertimbangkan aspek prinsip-prinsip desain produk, diantaranya meliputi: keunikan dalam tampilan bentuk, nilai lokal, tingkat kerumitan, keharmonisan ornamen maupun bentuk, tingkat kerumitan pengerjaan, aspek kontras dalam keselarasan, keseimbangan komposisi desain secara keseluruhan, serta fungsional dan praktis (Farbstein & Davies, 2016).…”

Section: Pengujian Hasil Diversivikasiunclassified

Diversifikasi Desain Produk Sentra Keramik Dinoyo Bersumber Ide Budaya Lokal Malang

Ponimin

2018

JBS

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Ceramic craft in Sentra Keramik Dinoyo of Malang has been produced in more or less four generations long. In the beginning, local crafters made potteries in traditional kitchenware. The increasing demand of consumer made room for decorative ceramic. Unfortunately, their product design development didn't reflect local culture nuance. It because crafters weren't able to develop the design. Through this activity, researcher tried to solve design problem, extracted from local culture as ceramic creation idea. So that local culture could appear as local ceramic characters. Ceramic product design development is done by formulating design concept, manifesting concept into product design image. Design image result then tested to design expert. The product design image then improved. This design improvement then manifested into ceramic product prototype. This development produced a unique design, one of them is ceramic with 'Kendi Garuda Kamandalu' (teapot) from Kidal Temple's reliefs theme.

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“…Two additional aspects of Pavlovian owl representations are important to consider: (i) we are dealing with generic and rather abstract visualisations which we may address as generalised owls; (ii) owl representations transgress the boundaries of both broader raw material groups and 'art' categories; some pieces belong to what Svoboda and Frouz (2011, 200) have classified as 'mobile art', while others, in particular the clay figurines, represent 'static art' and were likely produced and buried in situ at the sites where they were excavated (Verpoorte 2001;Farbstein 2011;Farbstein and Davies 2017).…”

Section: The Owl As a Pavlovian Themementioning

confidence: 99%

“…These sites have not only yielded relatively rich and diverse material culture repertoires (e.g. Klíma 1979;Svoboda 1991;Oliva 2007Oliva , 2015Hromodová 2016), including evidence for fibre technology with basket production (Adovasio, Soffer, and Klíma 1996;Soffer et al 1998;Svoboda et al 2009) and one of the world's oldest 'ceramic' traditions (Vandiver et al 1989;Farbstein 2011;Králík 2011;Svoboda 2012;Svoboda et al 2015;Farbstein and Davies 2017), but also indicate that Pavlovian people stayed unusually long at these sites and/or revisited them repeatedly on a yearround basis (Svoboda 2012;Svoboda et al 2015).…”

Section: Pavlovian Settlement Organisationmentioning

confidence: 99%

Gazing at Owls? Human-strigiform Interfaces and their Role in the Construction of Gravettian Lifeworlds in East-Central Europe

Hussain

2018

Environmental Archaeology

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This paper develops a new perspective on human-owl relations in the Pavlovian, a regional group of the early Gravettian of East-Central Europe. It argues that the regular representation of owls in figurative art and ornamentation in this context must be understood as a result of unique conditions of encounter and interaction emerging at the intersection of Southern Moravian early MIS 2-environments, Pavlovian sociocultural practice, and owl presence and behaviour. It is shown that the diverse and tree-rich environments of East-Central Europe, and the Pavlovian Hill region in particular, provided highly favourable living conditions for a rich owl community. In conjunction with Pavlovian settlement behaviour which produced large-scale aggregation sites and seems to have been associated with a more sedentary mode of life, humans were thus particularly exposed to owls that likely dominated the nightly soundscapes of the region. This coincides with the fact that many of the present owl species are resident birds and aligns with compelling evidence for a pronounced 'sense of place' in the region's early Gravettian. The paper therefore suggests considering the saliency of negotiating the owl theme in the Pavlovian as an expression of the general eco-cultural entanglement of humans and owls in this setting. I argue that human-owl relations in the Pavlovian might have ultimately been fashioned by a shared sense of place. ARTICLE HISTORY

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Palaeolithic ceramic technology: The artistic origins and impacts of a technological innovation

Cited by 17 publications

References 14 publications

Digital Sensoriality: The Neolithic Figurines from Koutroulou Magoula, Greece

Digital Sensoriality: The Neolithic Figurines from Koutroulou Magoula, Greece

Diversifikasi Desain Produk Sentra Keramik Dinoyo Bersumber Ide Budaya Lokal Malang

Gazing at Owls? Human-strigiform Interfaces and their Role in the Construction of Gravettian Lifeworlds in East-Central Europe

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