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A geoarchaeological study of silcrete in the Central Queensland Highlands highlights the importance of geological context in understanding the procurement, use and transport of artefacts. This study shows, by focusing on a newly discovered silcrete quarry, that silcrete formed beneath basalt by silicification of stream sediments and underlying sandstone. Silcrete outcrops are largely restricted to cliffs where the base of the basalt is exposed, narrowing the location of potential quarries. Silcrete artefacts are abundant throughout the region, and there are clear patterns in the use and distribution of different qualities of silcrete. Fine‐grained grain‐supported silcrete is the dominant artefact lithology because of its excellent flaking quality; it is sufficiently versatile to make flake scrapers and retouched microlithic tools. At one occupation site, the mid‐Holocene appearance of backed artefacts and points was accompanied by an increase in the use of fine‐grained grain‐supported silcrete and a decrease in the exploitation of coarse‐grained matrix‐supported silcrete; the latter was less suited to the manufacture of more curated tools. With increasing distance from silcrete outcrops, there is a decrease in the percentage of silcrete artefacts and an increase in the expedient use of local lithologies. However, silcrete's flaking quality justified its dispersal over distances of >80 kilometres from the nearest outcrop.  相似文献   
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The issue of the widespread decline and loss of musical heritage has recently found increasing prominence in ethnomusicological discourse, and many applied projects from grassroots to international levels strive to support genres perceived to be under threat. Much recent literature on the subject features rhetoric that draws on metaphors from ecology, including, for example, the ideas of music ‘ecosystems’, ‘endangerment’ and ‘sustainability’. Offering an alternative (though not contradictory) perspective, I here characterise the widespread loss of musical heritage as a ‘wicked problem’– one with complex interdependencies, uncertainties and conflicting stakeholder perspectives, which defies resolution more than some of the ecological metaphors arguably imply. By drawing on theoretical notions of ‘wickedness’ from social policy planning and other areas, I aim to bring interdisciplinary insights to the discussion of strategies to mitigate the global threat to music as intangible cultural heritage. Offering three ‘stories’ about the problem of music genres ‘at risk’ and critiquing each of these stories against the theory of wicked problems, I explore the implications of this conceptualisation for heritage scholars, music researchers, policy-makers and other cultural stakeholders, in terms of moving us closer to realising effective, resilient and innovative approaches to the problem at hand.  相似文献   
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The Still Bay (SB) and Howiesons Poort (HP) industries, endemic to southern Africa and dating to approximately 72–59 ka, have received a great deal of archaeological attention by virtue of their striking patterns of technology and their close association with some of the earliest unambiguously symbolic objects found in southern Africa. This paper reviews recent literature concerning SB and HP lithic assemblages, faunal remains, paleoenvironmental contexts, and chronological information. It argues that SB biface-dominated technology was designed to be multifunctional and to economize lithic raw material, a strategy well-suited to foragers moving frequently across a wide range of ecological zones in which access to resources and prey encounters were unpredictable. In contrast, HP blade-based tools, using backed blades as modular components in compound weapons, were efficient and reliable hunting weapons designed for specific tasks. More costly and difficult to maintain, HP technology resulted from the targeting of known, localized, and seasonal resources through planned logistical forays. We argue that these complicated patterns of innovation represent separate cultural responses to environmental instability during Marine Isotope Stage 4 and demographic pressures in southern Africa at this time. Against the backdrop of environmental and demographic shifts, the emergence of these innovative tools and associated symbolic objects reflects distinct but quintessentially modern cultural behaviors ethnographically associated with risk reduction, reciprocity, and information sharing.  相似文献   
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