Two Artificial Anchorages off the Northern Shore of the Dead Sea: a specific feature of an ancient maritime cultural landscape

A recently discovered artificial stone mound on the northern shore of the Dead Sea is a maritime feature exposed by the drying of the lake. Lake‐level fluctuations, a loose silt bottom, lack of natural anchorages, and onshore prevailing winds, prevented the long‐term planning, construction and maintenance of shore‐based harbour installations in this area. This and a similar mound nearby, Rujum el Bahr, are interpreted as structures once used for open‐water mooring, providing a firm anchor‐hold over a range of lake levels and wind directions. As such, they enabled the use of this economically and strategically important part of the lake by maritime traffic.     

A New Type of Composite Anchor Dated to the Fatimid-Crusader Period from the Dead Sea, Israel

Two composite anchors of a kind not hitherto identified, each composed of a re-used ashlar block, a wooden shank, two arms and a rope, were discovered recently on the Dead Sea shoreline. Two additional anchor weights of identical type were found in the same region. The two well-preserved anchors were dated to the Fatimid-Crusader period. The shank and the arms were made from local tree species: Christ thorn and tamarisk, and both ropes of date-palm.
© 2008 The Authors     

Artists working with life (sciences) in contestable settings

ABSTRACT

As technology is becoming more lifelike and life is becoming a technology, there is a growing need to culturally scrutinize and articulate the meaning(s) of the concept of life. This happens at a time when fact and fake are becoming interchangeable, and the rhetoric of control over complex systems suggests fantasies about human desire for full dominance over the unintentional and constructed world. When it comes to the concept of life, who is calling the shots? This paper aims to explore the complexities in the relations between meaning makers (let us call them artists), fact makers (let us call them scientists), tool makers (let us call them engineers) and money makers (let us call them opportunists), especially as they relate to the idea of life. Life – an enigmatic concept – is always going through changes, physically and conceptually. How do we understand and articulate these changes through the work of artists using the tools of the fact makers to manipulate living bodies or their parts? What is the role artists play across the boundaries of fact, fiction, exploitation and care? In particular, we ask how art can avoid becoming instrumentalized in the service of the opportunists and the tool makers.