Computing Abilities in Antiquity: The Royal Judahite Storage Jars as a Case-study

Studying the volume of ancient pottery vessels can shed light on the development of complex societies and state apparatus by revealing the means taken to standardize trade and taxation. It can also shed light on the cognitive abilities of ancient people by investigating their knowledge of computing. This paper explores, as a case study, the volume and shape of the lmlk (“belonging to the king”) royal storage jars, which probably represent the highest level of standardization in eighth century BCE Judah. To estimate the volume of these vessels we constructed a computer 3D model for each jar. The variation in the jars’ linear dimensions is about 2–3%, a number that is characteristic of human-made objects produced by professionals without employing measurement tools. Had the potters produced jars of the same height, they could have easily reached 3–4% accuracy in the volume. Surprisingly, the variation in the jars’ volume is 7–10%. We hypothesize that rather than height the potters focused on the jars’ shape and wall width, estimating the volume according to the jars’ outer measurements. We propose a simple way that these measurements could have been taken and suggest a formula that could have been employed by the potters and customers for quickly calculating a jar’s volume.     

Some Insights on the Aterian in the Libyan Sahara: Chronology, Environment, and Archaeology

The Aterian has a huge geographic extension covering all North Africa, although it was not supposed to exist in the mountain ranges of the central Sahara. Its chronological context is not yet definitively determined and it is still difficult to say whether the Aterian tools are technological, typological, functional, or chronological markers. Recent surveys and excavations at Uan Tabu and Uan Afuda, two rock-shelters located in the central Tadrart Acacus, provide the first chronological, environmental and archaeological indications on this Late Pleistocene human occupation in the area. The lack of organic matter led us to perform OSL and TL analyses on sand. L'Atérien a une énorme extension géographique qui couvre tout le Nord de l'Afrique, tandis qu'on ne pensait pas qu'il existait dans les montagnes du Sahara central. Son contexte culturel n'est pas définitivement déterminé et il est encore difficile de dire si les instruments atériens sont des indicateurs téchnologiques, typologiques, fonctionels ou culturels. Reconnaissances et fouilles récentes à Uan Tabu et Uan Afuda, deux abris situés dans l'Acacous central, fournissent les premières indications sur la chronologie, l'environnement et l'archéologie de l'Atérien dans la région. L'absence de la substance organique, nous a porté à faire des déterminations OSL et TL sur les sables.     

Geometric architectural pattern and constructive energy analysis at Los Millares Copper Age Settlement (Santa Fé de Mondújar,Almería,Andalusia)

Enclosure walls from late IV to II millennium are an important archeological feature in southeast Iberia and south Portugal. These enclosures were considered to be fortified settlements but have more recently been interpreted as the result of general processes of social complexity, symbolism, monumentality, interaction, and space demarcation, among others. Metric and geometric studies associated with architectural concepts are very important tools to analyze prehistoric communities and bring their own perspective to bear. The planning of monuments or even whole settlements includes a more general perception of space, determined by mythology, topography, taking of place, and social hierarchy, among others.     

Epitomising the Modern Spanish Nation through Popular Music: Coplas from La Caramba to Concha Piquer, 1750–1990

Music is an important language of the emotions and can often arouse strong passions in its performance and representation, both from the individual's perspective of personal identity and for the individual's sense of identity and of belonging to a given community. Likewise, music can serve to whip up and reinforce nationalism and national chauvinism against the ‘other’ as well as serving as a badge of identity. In this article I explore a musical form, a song that has been defined as ‘Spanish’ and as the ‘national’ song: la copla. Copla is rooted in the past and first appeared as both a poetic and a theatrical form, but always accompanied by music. It was, however, during the eighteenth century, when nationalism made its appearance as a ‘concern’ in the Spanish political‐cultural arena, when coplas would be used as a mark of Spanish identity. Copla is a women's song. Although it has been interpreted by men, some of them internationally renowned like Miguel de Molina, the most famous performers have been and still are women. That is why perhaps a recurrent theme of coplas is unrequited love, whereby love and passion play an important role, either with regard to the individual or the community from which the individual hails. But there are also other themes such as the longing stimulated by alien rule, which is reflected by cultural opposition and resistance to discourses of power, not only in terms of open opposition, but in a more subtle form of resistance, particularly in gender terms. I claim that it is precisely this resistance to fixed discourses of gender that have made coplas excellent negotiators with the different musical, social and political contexts and in this way have made them an icon of the invented tradition that is fundamental in the creation of a nation.     

Formt die Technik die Musik? Montageästhetik zu Beginn des 20. Jahrhunderts

Does technology shape music? Aesthetics of assembly at the beginning of the 20^th century. This article deals with the relationship between assembly in production technology and similar processes in musical composition. Can composers like Eric Satie, Igor Strawinsky or George Antheil, who used assembly methods in some of their compositions, be called assemblers? The authors point out that all three composers used assembly methods in different ways and with different purposes. Applying a theoretical approach inspired by media studies they come to the conclusion that the conditions under which musical works using assembly methods are shaped do not originate in technology but in the aesthetic convictions of the composer. Apart from assembly methods there are many other compositional principles the composer relies on. Technology may inspire music but does not determine the musical outcome.