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A Venetian Landmark Closes
Full text linkA Venetian Landmark Closes by Karlis Karklins (1993, 22:20-21
An Unusual Modern Bead (?) from China
Full text linkAn Unusual Modern Bead (?) From China, By Karlis Karklins (1996, 28:19-20
Interpretations Based on Personal Adornment Items from the Mission San Luis de Talimali Cemetery, Florida
Full text linkInterpretations Based On Personal Adornment Items From The Mission San Luis De Talimali Cemetery, Florida, By Jeffrey M. Mitchem (1995, 26:8-13
Beads from Gablonz (full text)
No full textDuring the 19th and 20th centuries, Gablonz in northern Bohemia (now Jablonec nad Nisou in the Czech Republic) was a major producer and supplier of glass and ceramic beads to the world market. This production center created beads of myriad forms, using all the major manufacturing methods. This detailed study provides a thorough overview of the various methods including patent details as well as information concerning bead names, shapes, coloring, decoration, sizing, stringing, and historic prices. The text is accompanied by numerous illustrations of the beads under discussion and the tools and apparatuses used to make, size, and string them. There is also a well-illustrated section on the pre-1913 sample cards of two major Gablonz companies, the Redlhammer Brothers and the Mahla Brothers.
This is the full text article, because it's longer than a standard Beads article, it's also available split into smaller sections
Glass, Composition, Rods, Tubes, and Canes
Full text linkPart 6 "Glass, Composition, Rods, Tubes, and Canes" of Beads from Gablonz.
During the 19th and 20th centuries, Gablonz in northern Bohemia (now Jablonec nad Nisou in the Czech Republic) was a major producer and supplier of glass and ceramic beads to the world market. This production center created beads of myriad forms, using all the major manufacturing methods. This detailed study provides a thorough overview of the various methods including patent details as well as information concerning bead names, shapes, coloring, decoration, sizing, stringing, and historic prices. The text is accompanied by numerous illustrations of the beads under discussion and the tools and apparatuses used to make, size, and string them. There is also a well-illustrated section on the pre-1913 sample cards of two major Gablonz companies, the Redlhammer Brothers and the Mahla Brothers
The Beaded and Associated Adornments of the Maasai
Full text linkThe lavish beaded jewelry of the Maasai developed from comparatively modest beginnings. Since glass beads were originally a costly rarity in landlocked East Africa, elaborate beaded adornments only became possible in the second half of the 20th century. There are descriptions and illustrations of early objects in the publications of German and British colonial officials such as Moritz Merker and Claude Hollis, but much has been learned since their time. This paper describes the beaded jewelry and utilitarian objects of the Maasai, including their traditional Maa proper names, as well as the glass beads and other materials used in their construction
Catlinite Beads: Les Autres Diamas du Pais
Full text linkArchaeological evidence is combined with 17th-century documents to record the production of red stone beads by Anishinaabe communities in southern Ontario for exchange with neighboring Iroquoian populations as far away as the Seneca in upstate New York. A transition from local red siltstone to exotic catlinite appears to have been influenced by the mid-century Iroquois Wars, while the symbolism inherent in these items may have been related to the introduction of European diseases
Narrativas de extrañamiento en la infrapolítica y en el cine de percepción de Lucrecia Martel's Cinema of Perception
No full textThis essay studies cinema and infrapolitics from the standpoint of estrangement as a narrative device that sets perception and politics in relationship to one another. It proposes that recent books on infrapolitics by Gareth Williams and Alberto Moreiras deconstruct prominent narratives of estrangement in which the processes of perceptual renewal catalyzed by art are understood in terms of their ulterior political significance, and elaborate an alternate narrative in which estrangement instead makes perceptible, and marks the passage to, an in-eliminable strangeness at the heart of the relationship between politics and life. It then interprets Lucrecia Martel’s 2015 short film Leguas in terms of its interweaving of political and infrapolitical narratives of estrangement. It finally turns to a recent essay by Silvia Schwarzböck, titled Los monstruos más fríos: estética después del cine (2017), which narrates cinema history in terms of how twentieth-century cinema, by teaching viewers to identify with the cold, inhuman strangeness of the camera’s gaze, contributed to the increasing estrangement of human perception into the machinations of the modern state. Through its study of these materials, this essay argues that narratives of estrangement form an important standpoint for approaching the relationship between cinema and infrapolitics, due to the central significance of perceptual renewal—that is, the possibility of seeing things differently—to both the cinematic medium and infrapolitical reflection.
Este ensayo estudia cine e infrapolítica desde la perspectiva del extrañamiento, entendido como un dispositivo narrativo que relaciona la percepción y la política. Propone que los recientes libros sobre infrapolítica de Gareth Williams y Alberto Moreiras deconstruyen narrativas prominentes del extrañamiento en las que los procesos de renovación perceptiva catalizadas por el arte se entienden siempre en términos de su significado político ulterior, y, en cambio, elaboran narrativas alternativas en la que el extrañamiento perceptible y marca el paso a una extrañeza ineliminable en el corazón de la relación entre política y vida. Luego interpreta el cortometraje Leguas (2015) de Lucrecia Martel en términos de su entrelazamiento de narrativas políticas e infrapolíticas del extrañamiento. Finalmente, aborda un ensayo reciente de Silvia Schwarzböck, titulado Los monstruos más fríos: estética después del cine (2017), que narra la historia del cine en función de cómo el cine del siglo XX, al enseñar a los espectadores a identificarse con la extrañeza fría e inhumana de la mirada de la cámara, contribuyó al creciente extrañamiento de la percepción humana en las maquinaciones del Estado moderno. A través del estudio de estos materiales, este ensayo argumenta que las narrativas del extrañamiento constituyen un punto de vista importante para abordar la relación entre cine e infrapolítica, debido a la importancia central de la renovación perceptiva–es decir, la posibilidad de ver las cosas de manera diferente–tanto para el medio cinematográfico como para la reflexión infrapolítica