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A Note on Chevron and Other Beads from Trinidad
Full text linkA Note On Chevron And Other Beads From Trinidad, By Charles A. Hoffman And Thomas F. Lynch (1990, 17:14
Summary of Huron Bead Sequence, A.D. 1590-1650
Full text linkSummary Of Huron Bead Sequence, A.D. 1590-1650, By James R. Hunter (1986, 8:16-18
An Unusual Gilt-decorated Faceted Glass Bead
Full text linkAn Unusual Gilt-Decorated Faceted Glass Bead, by Paul Lawson (1997, 31:12-13
The Deterioration of Glass Beads on Ethnographic Objects
Full text linkThe Deterioration Of Glass Beads On Ethnographic Objects, By Sandra Lougheed And Jane Shaw (1985, 7:10-12
A 1937 Government View of Indian Beadworking Ability
Full text linkA 1937 Government View Of Indian Beadworking Ability, By Roderick Sprague (1993, 22:11-13
Analyzing Aesthetics and Contemplating Cosmologies: Glass Beads and the Socio-Political Economies of the Haudenosaunee Confederacy, ca. 1655-1754
Full text linkThis paper compares glass bead color, shape, and size patterns from 19 Seneca, Cayuga, Onondaga, Oneida, and Mohawk towns, ca. 1655-1754. During this time, Haudenosaunee (also known as Iroquois) Nations sought trading relationships with Europeans and other Indigenous communities to obtain goods by choice, rather than by dependence. As actors with agency, Haudenosaunee Nations intentionally sought specific visual characteristics of glass beads to generate desired outcomes. Within the context of Haudenosaunee cosmology, the colors red, white, and black have aesthetic and ideological power because their animacy evokes dynamic states of being and facilitates transformation. Considering glass bead color, shape, and size patterning across multiple contemporaneous towns in the Haudenosaunee Confederacy illuminates nation-specific aesthetic preferences, trends in bead use, and draws attention to Haudenosaunee economic and aesthetic motivations for wearing and exchanging glass beads during the fur trade
An-archē-ism in Caballos salvajes
No full textMarcelo Piñeyro’s 1995 film Caballos salvajes chronicles the five-day journey of two fugitives, José and Pedro, from Argentina’s capital city of Buenos Aires to the nation’s southern region after a holdup gone awry. The two runaways – Pedro, a young employee originally held up by José, an aging anarchist – develop an unlikely friendship. Thanks to intense media interest, José and Pedro become national heroes, understood as modern day Robin Hood figures after giving the stolen money away to a community of recently laid off chemical plant workers.
At a critical moment early in the film, Pedro incredulously asks José why he has turned the entire episode into a question of politics. José resolutely refuses this accusation, stopping the conversation to exit the car they are traveling in, circle it brusquely, and re-enter, scolding his young travel companion: “¿Cómo voy a hablar de política? No estoy hablando de política. Hablo del mundo en el que estás viviendo.” Taking this decisive scene as a starting point, I argue that what is at stake for José throughout the film is what Alberto Moreiras has termed “infrapolitics.” Moreiras has described infrapolitics as “la diferencia absoluta entre vida y política,” arguing for a theoretical stance which acknowledges that politics does not (indeed, cannot) exhaust life itself. I will argue that the film offers us the notion that, while politics does mark many aspects of life, there remains a level of experience that cannot be subsumed under any sort of calculative political logic. Caballos salvajes therefore posits a version of José’s anarchist politics that is an-archē-ic, an anarchism that sidesteps anarchism’s paradoxical principal of non-foundation
El silencio de otros: Momentos de verdad.: Entre documentalismo y arte.
No full textThe Silence of Others is structured around three key points that combine: 1) a strong commitment to a highly creative and original aesthetic; 2) a political and ethical project of restitution and justice that, however, goes beyond the political (without denying it) to open up to a realm of the infrapolitical, or, we could say, to the abyssal encounter of its protagonists with existence and death through individual memory (the experience of the most intimate) and mourning (the experience of the inassimilable); and 3) an archival memory (historiography), which includes scenes drawn from historical archives and the act of bearing witness to horror (the public recounting of the experience of horror and tragedy) that aims to educate, inform, and give historical value to the experience of violence. These three nodes (the aesthetic, the ethical, and the historical) give rise in the documentary narrative to four different but related fields of reflection: politics, or the impulse toward action that governs and calculates; aesthetics, which concerns primarily the essence of the image, its strength, and its potency; the philosophy of law, or that which, following Jacques Derrida, seizes the very possibility of the experience of justice; and infrapolitics, which leads us to question existence and being, moving away from the constructions of thought about subjectivity. Jacques Rancière, a thinker of politics and aesthetics; Hito Steyerl, a thinker of the documentary image as a potential space for the emergence of “the” truth; Jacques Derrida, a thinker of justice, law, and the legal system; and Gareth Williams, along with other infra-political thinkers concerned with existence, establish and guide, with varying depths, this reflection on The Silence of Others, a 2018 documentary by Almudena Carracedo and Robert Bahar that is responsibly driven by the incalculable, and thus infrapolitical, desire to bring the experience of justice to the fore, and what it holds of failure but also of existential hope.El silencio de otros se estructura a partir de tres puntos nodales que combinan, 1) un fuerte compromiso con una estética altamente creativa y original; 2) un proyecto político y ético de restitución y justicia que, sin embargo, excede lo político (sin negarlo) para abrirse a una registro de lo infrapolítico o, podríamos decir, del encuentro abismal de sus protagonistas con la existencia y la muerte vía la memoria individual (la experiencia de lo más íntimo) y el duelo (la experiencia de lo inasimilable); y 3) una memoria archivista (la historiografía), que incluye escenas extraídas de los archivos históricos y del acto del testimonio del horror (el relato público de la experiencia del horror y la tragedia) que aspiran a educar, informar y darle valor histórico a la experiencia de la violencia. Estos tres nódulos (lo estético, lo ético y lo histórico) dan lugar en la narrativa documental a cuatro diferentes pero relacionados campos de reflexión: la política, o el impulso a la acción que gobierna y calcula; la estética, a la que concierne principalmente la esencia de la imagen, su fuerza y su potencia; la filosofía del derecho, o aquello que, siguiendo a Jacques Derrida, arrebata la posibilidad misma de la experiencia de la justicia; y la infrapolítica, que nos lleva a preguntarnos por la existencia y por el ser alejándonos de las construcciones de un pensamiento sobre la subjetividad. Jacques Rancière, un pensador de la política y de la estética; Hito Steyerl, pensadora de la imagen documental como espacio potencial de la emergencia de “la” verdad; Jacques Derrida, pensador de la justicia, el derecho y la ley; y Gareth Williams junto a los pensadores infrapolíticos preocupados por la existencia, fundan y guían, con mayor o menor profundidad, esta reflexión sobre El silencio de otros, un documental de Almudena Carracedo y Robert Bahar del 2018 que responsablemente se atraviesa por el deseo in-calculable, y de ahí, infrapolítico, de traer a escena la experiencia de la justicia y lo que esto tiene de fracaso pero también de esperanza existencial
A New Variety of Frit-Core Bead from Jamestown, Virginia
Full text linkThe inventory of frit-core beads continues to grow with the finding of a new variation of Type 9 at Jamestown (1607-ca. 1699) in eastern Virginia, the first permanent English settlement in the Americas. It is decorated with four golden yellow and four raised white stripes