Three-dimensional image of seismic refraction tomography and electrical resistivity tomography survey in the castle of Occhiolà (Sicily,Italy)

A geophysical survey was carried out at the ruins of Occhiolà Castle (Sicily, Italy), a medieval village located at the north-western part of a hill named “Terravecchia” at 491 m asl. In order to map the archaeological structures (such as walls and burrows), Electrical resistivity tomography (ERT) and seismic-refraction tomography methods were used. The resistivity variations are known to correlate quite well with the lithology, thus providing important information for identifying the buried archaeological remains. On the other hand, seismic velocity variations provide information about the geometrical features of the remains. The two geophysical methods are used in an enjoined way to better aid the interpretation and evaluate the significance and reliability of the results obtained with each single method. The electrical and seismic data are displayed in three dimensions by using the iso-resistivity and iso-velocity surfaces, respectively. This allows us to effectively define the location of the anomalies present in the single electrical and seismic sections. The results obtained in the survey highlight the presence of structures of regular shape, probably due to features of archaeological interest.     

Best practices for measuring community resources across Canada: A comparison of coding classifications

Social scientists, geographers, criminologists, and health scientists are often tasked with finding data to best capture the impact of “community context” on individual outcomes, including residential services, physical resources, and social institutions. One outlet for such data in Canada is Digital Map Technologies Inc. (DMTI) Spatial, which offers a national repository of over one million businesses and recreational points of interest. The database is generated through CanMap Streetfiles, which includes geocodes of each point's precise location. These data are available to researchers from their university data library and Esri Canada, but primarily available to private sector and government markets. That said, the goal of the current paper is to encourage researchers to access this rich yet under-utilized data source. Each service, business, or resource in the DMTI Spatial database is assigned to a respective category using Standard Industrial Classification codes and North American Industrial Classification System codes. It is not clear, however, which is the more reliable coding criteria. We provide an overview of our review of DMTI Spatial data and take-away suggestions for using this valuable resource for future research on meso-level residential markers.     

House Societies in the Ancient Mediterranean (2000–500 BC)

House societies have become popular with archaeologists in recent years, due to (among other things) their conspicuous material basis (wealth, heirlooms and the houses themselves). As yet, however, most archaeological studies have focused only on individual societies. In this article, we offer a comparative and long-term approach to the phenomenon, using as case studies the Bronze Age and Iron Age communities of the Levant, the Aegean and the central Mediterranean. We describe the elements that define them as house societies and examine their evolution through time. We follow a strictly Lévi-Straussian definition of the house that prevents the concept from losing heuristic power. Using this definition, we consider that houses are to be found in ranked societies without centralization and in complex agropastoral systems, like those of the Mediterranean, where agricultural soil is scarce and liable to be monopolized. We argue that the house emerges in these competitive contexts as an institution to control land and retain patrimony undivided. Through a combination of archaeological and written sources, we try to demonstrate that it is possible to document several strategies used by house societies to acquire and retain power and wealth, including dowry, levirate, a bilateral system of marriage alliances, ancestor cults, specific architectures and house treasures. The case studies addressed here offer good comparative material for assessing similar processes elsewhere. At the same time, we argue that the Mediterranean area developed a particular ideology, that of the shepherd ruler, that was essential to legitimate the house.     

We are never alone: a conversation on bio art with Eduardo Kac

Brazilian-born artist Eduardo Kac’s (Rio de Janeiro, 1962) work has raised eyebrows especially for his ‘transgenic art’ projects, among others: Genesis, 1999; GFP Bunny, 2000; The Eight Day, 2001; Natural History of the Enigma, 2003/08. In all of these, Kac and his scientific collaborators realize genetic interventions into living organisms at the same time as they trigger audience reactions to these from playful kinds of interaction that is integrated into the works’ open and dynamic creative process. Yet whereas the ethical and political challenges Kac’s work poses have sparked lively debates within and beyond the realm of the arts – can and must art engage with the ‘creative’ potentials of biotechnology and genetics? Do these not in fact (as Vilém Flusser and others have suggested) hold the key to realizing the vanguardist dream of merging art and life? Or should the artist, from the vantage point of his own creative practice, not rather warn us against the ethical and political risks involved in genetic engineering? – much less attention has been paid to the way Kac’s art also continues and transforms a particular legacy of post-concretist, ambient and performance art in Latin America.

Kac himself has referred to Brazilian artists Flávio de Carvalho, Hélio Oiticica and Lygia Clark as informing his interest in open, participative forms, which characterize both his transgenic and his earlier ‘tele-presence’ art projects. Other Latin American artists of the late twentieth and early twenty-first century have been producing intriguing engagements with living materials, multispecies habitats and organic remains, including such diverse names as Luis Fernando Benedit, Nicola Constantino, Nuno Ramos, or Teresa Margolles. In a conversation with Jens Andermann and Gabriel Giorgi at the University of Zurich’s Center of Latin American Studies on March 12, 2015, Kac addressed the way in which his work might be seen as continuing or challenging long-standing representations of the New World as a repository of ‘nature’, from colonial chronicles of discovery to contemporary discourses of biodiversity and conservation. To what extent is bio art – and the questions it raises about the Anthropocene as a threshold of radical biopolitical convergence between ‘history’ and ‘nature’ – necessarily ‘transcultural’ and planetary in its extension?