olocau

sandbags and rocks

ungestalt // sign

http://donsmaps.com/gargas.html

entoptic

http://entheology.com/research/entoptic-imagery-and-altered-states-of-consciousness/

wb/ prehistory /

V

Works of art are received and valued on different planes. Two polar types stand out; with one, the accent is on the cult value; with the other, on the exhibition value of the work. Artistic production begins with ceremonial objects destined to serve in a cult. One may assume that what mattered was their existence, not their being on view. The elk portrayed by the man of the Stone Age on the walls of his cave was an instrument of magic. He did expose it to his fellow men, but in the main it was meant for the spirits. Today the cult value would seem to demand that the work of art remain hidden. Certain statues of gods are accessible only to the priest in the cella; certain Madonnas remain covered nearly all year round; certain sculptures on medieval cathedrals are invisible to the spectator on ground level. With the emancipation of the various art practices from ritual go increasing opportunities for the exhibition of their products. It is easier to exhibit a portrait bust that can be sent here and there than to exhibit the statue of a divinity that has its fixed place in the interior of a temple. The same holds for the painting as against the mosaic or fresco that preceded it. And even though the public presentability of a mass originally may have been just as great as that of a symphony, the latter originated at the moment when its public presentability promised to surpass that of the mass.

With the different methods of technical reproduction of a work of art, its fitness for exhibition increased to such an extent that the quantitative shift between its two poles turned into a qualitative transformation of its nature. This is comparable to the situation of the work of art in prehistoric times when, by the absolute emphasis on its cult value, it was, first and foremost, an instrument of magic. Only later did it come to be recognized as a work of art. In the same way today, by the absolute emphasis on its exhibition value the work of art becomes a creation with entirely new functions, among which the one we are conscious of, the artistic function, later may be recognized as incidental. This much is certain: today photography and the film are the most serviceable exemplifications of this new function.

 ....

Agamben / philosophical archaeology/ 2009
 
And it is something similar that Benjamin might have had in mind, when, in Overbeck’s footsteps, he wrote that in the monadological structure of the historical object are contained both ‘prehistory’ and ‘post-history’ (Vor- und Nachgeschichte), or when he suggested that the entire past must be immersed into the present in a ‘historical apocatastasis’ (Benjamin 1982, p. 573). (Apocatastasis is the restitution in the origin which, according to Origenes, takes place at the end of times; qualifying an eschatological reality as ‘historical’, Benjamin uses an image very similar to the foucaultian ‘a priori’.)

Project Gnome Markers

DESIGNING FOR DEEP TIME:

HOW ART HISTORY IS USED TO MARK NUCLEAR WASTE

by

Kelli Anderson

Another pattern that emerged from the referenced texts was the importance of redundancy in creating tangible, long lasting messages. The use of redundancy and multiples may aid in the reception of small scale communications, while contributing to the longevity of large scale messages. The Assyrian stone tablets mentioned in Chapter 1 provide an example of how redundancy can be used in deciphering small scale messages. The overlap of the symbols appearing on the tablets, as well as the patterns emerging from them as a group help later scholars interpret their meaning. Since “...several components within a given marking design, a number of items within each component, and cross referencing to link components...” were used, meaning can be extracted even though the symbols used were not initially understood. The ability to read these symbols comes from the interconnected, self deciphering web created by their overlap, not by the intrinsic communicative properties of the characters themselves. In terms of large scale communications, Goodenough cites Stonehenge as an example where a multiples strategy contributed to the longevity of the monument. He notes that although a third of the stones have been removed from the site, the quantity of stones used ensures that enough remain to reconstruct’ the original design.

78

If the designers of Stonehenge had employed a single, monolithic approach, wherein only one stone was used, it would almost surely be gone today. The use of multiple stones, which creates a sense of environment versus a sense of object, promotes the longevity of a site. Stonehenge remains intact today largely due to the multiples strategy employed in its construction.

http://www.kellianderson.com/MSthesis.pdf

How to communicate the dangers of nuclear waste to future civilizations.

 

Preventing Human Intrusion into A High Level Nuclear Waste Depository 1994

Excerpts from Expert Judgement on Markers to Deter Inadvertent Human Intrusion into the Waste Isolation PilotPlant
(Sandia National Laboratories report SAND92-1382 / UC-721, p. F-49)

Figure 4.3-6. Spikes Bursting Through Grid, view 2 (concept by Michael Brill and art by Safdar Abidi).  

4.2 Descriptions of the Permanent Marker Components 

General descriptions of the conceptual design for the permanent marker components contained in the CCA are provided below; Figure 2 illustrates their locations. Additional detailis provided in Section 5.0.

1.Large Surface Markers - The conceptual design calls for 32 Large Surface Markers erected on the perimeter of the controlled area, and 16 markers erected on the perimeter of the repository footprint, within the Berm. Each marker will consist of two separate stone monoliths joined by a mortise-and-tenon joint; the lower member will be a truncated pyramid and the upper member will be a right prism. 

2. Small Subsurface Markers - The Small Subsurface Markers will be small buried disks warning of the presence of the repository. They will be buried throughout the repository footprint, within the Berm, and within the shaft seals. They will be randomly spaced and buried at depths ranging from two to six feet below the surface. 

3. Berm- The Berm will enclose an area that is 110 percent of the repository footprint. As currently planned, it will have a core base material of salt; the core will be protected by at least two other types of materials. Magnets and Radar Reflectors will be buried in the Berm. These will be buried at specified intervals in the Berm, producing distinctive anomalous magnetic and radar-reflective signatures. A Buried Storage Room will also be constructed at grade inside the Berm on its south side.

4.Buried Storage Rooms- One Buried Storage Room will be buried within the Berm. This room will be constructed at grade level at the center of the southern section of the Berm. It will be completely covered by Berm material. A second Buried Storage Room will be buried in the controlled area outside of the Berm and the repository footprint. This room will be buried approximately 20 feet below the surface, north of the Berm on a line passing through the Information Cent er, the center of the northern and southern sections of the Berm and the Hot Cell. 

5. Hot Cell - This is an existing reinforced concrete 40-by-70 foot structure with walls 4.5 feet thick. Its foundation extends 30 feet below grade, and the roof is 60 feet above grade. The Hot Cell will remain after closure as an “archeological remnant,” effectively serving the function of an additional permanent marker. 

6. Information Center- The Information Center will be an open structure having a rectangular design. It will be located on the land surface at the center of the repository footprint.
....

stone kissing

The act of fixing a stone to mark a place of worship is as old as history. In the Bible we are told that Jacob, on whom be peace, had fixed a stone at a place where he saw a vision. He poured oil on it and called it Bethel meaning 'house of God' (see Genesis 28:18). He did this again upon God's instruction (see Genesis 35:1, 14, 15). No one should understand from this that God instructed Jacob to worship the stone. (Shabir Ally, Common Questions People Ask About Islam, p. 46)

The Black stone is not worshipped by the pilgrims:

Muslims go to Makkah to glorify God, not to kiss a stone or worship a man or a semi-divinity. Kissing or touching the Black Stone at the Ka`bah is an optional action, not obligatory or prescribed. Those who kiss the Black Stone or touch it do not do it because they have faith in the Stone or attribute any superstitious qualities to it. Their faith is in God only. They kiss, touch or point at the Stone only as a token of respect or a symbol of love for Prophet Muhammad, who laid the Stone at the foundation of the Ka`bah when it was reconstructed. (1)

A sapphire hard drive is reported to have been developed that can store information on nuclear waste dumps for up to a million years - enough time for safe radioactive decay

The sapphire disk is one product of that effort. It's made from two thin disks, about 20 centimeters across, of industrial sapphire. On one side, text or images are etched in platinum—Charton says a single disk can store 40,000 miniaturized pages—and then the two disks are molecularly fused together. All a future archaeologist would need to read them is a microscope. 

Abri Castanet Vulva

We report here on the 2007 discovery, in perfect archaeological context, of part of the engraved and ocre-stained undersurface of the collapsed rockshelter ceiling from Abri Castanet, Dordogne, France. The decorated surface of the 1.5-t roof-collapse block was in direct contact with the exposed archaeological surface onto which it fell. Because there was no sedimentation between the engraved surface and the archaeological layer upon which it collapsed, it is clear that the Early Aurignacian occupants of the shelter were the authors of the ceiling imagery. This discovery contributes an important dimension to our understanding of the earliest graphic representation in southwestern France, almost all of which was discovered before modern methods of archaeological excavation and analysis. Comparison of the dates for the Castanet ceiling and those directly obtained from the Chauvet paintings reveal that the “vulvar” representations from southwestern France are as old or older than the very different wall images from Chauvet.

new scientist seals

Cave paintings in Malaga, Spain, could be the oldest yet found – and the first to have been created by Neanderthals.

Looking oddly akin to the DNA double helix, the images in fact depict the seals that the locals would have eaten, says José Luis Sanchidrián at the University of Cordoba, Spain. They have "no parallel in Palaeolithic art", he adds. His team say that charcoal remains found beside six of the paintings – preserved in Spain's Nerja caves – have been radiocarbon dated to between 43,500 and 42,300 years old.

That suggests the paintings may be substantially older than the 30,000-year-old Chauvet cave paintings in south-east France, thought to be the earliest example of Palaeolithic cave art.

The next step is to date the paint pigments. If they are confirmed as being of similar age, this raises the real possibility that the paintings were the handiwork of Neanderthals – an "academic bombshell", says Sanchidrián, because all other cave paintings are thought to have been produced by modern humans.

Neanderthals are in the frame for the paintings since they are thought to have remained in the south and west of the Iberian peninsula until approximately 37,000 years ago – 5000 years after they had been replaced or assimilated by modern humans elsewhere in their European heartland.

Until recently, Neanderthals were thought to have been incapable of creating artistic works. That picture is changing thanks to the discovery of a number of decorated stone and shell objects – although no permanent cave art has previously been attributed to our extinct cousins.

science of origin

the cavern full of shadow where Cacus is murdered

pearly king

Nacre appears iridescent because the thickness of the aragonite platelets is close to the wavelength of visible light. This results in constructive and destructive interference of different wavelengths of light, resulting in different colors of light being reflected at different viewing angles.

The layers of nacre smooth the shell surface and help defend the soft tissues against parasites and damaging debris by entombing them in successive layers of nacre, forming either a blister pearl attached to the interior of the shell, or a free pearl within the mantle tissues. The process is called encystation and it continues as long as the mollusk lives.

I fainted with pain, and the horror of that dim milk-white panic is as ineffaceable as the scar my flesh still bears
Herbert Read / The Innocent Eye

aristotle/ history of animals - the soft parts / milk

5. The soft parts are either entirely so, or so long as they are in a natural condition, as blood, serum, fat, tallow, marrow, semen, gall, milk [in those animals that give milk], flesh, and other analogous parts of the body. In another manner also the excretions of the body belong to this class, as phlegm, and the excrements of the abdomen and bladder; the hard and dry parts are sinew, skin, vein, hair, bone, cartilage, nail, horn, for that part bears the same name, and on the whole is called horn, and the other parts of the body which are analogous to these.

the immortal horses

Homer, Iliad 17. 426 ff :
"But the horses of Aiakides [Akhilleus] standing apart from the battle wept, as they had done since they heard how their charioteer[Patroklos] had fallen in the dust at the hands of murderous Hektor. In truth Automedon, the powerful son of Diores, hit them over and over again with the stroke of the flying lash, or talked to them, sometimes entreating them, sometimes threatening. They were unwilling to go back to the wide passage of Helle and the ships, or back into the fighting after the Akhaians, but still as stands a grave monument which is set over the mounded tomb or a dead man or lady, they stood there holding motionless in tis place the fair-wrought chariot, leaning their heads along the ground, and warm tears were running earthward from underneath the lids of the mourning horses who longed for their charioteer, while their bright manes were made dirty as they streamed down either side of the yoke from under the yoke pad.
As he watched the mourning horses the son of Kronos [Zeus] pities them, and stirred his head and spoke to his own spirit : `Poor wretches, why then did we ever give you to the lord Peleus, a mortal man, and you yourselves are immortal and ageless? Only so that among unhappy men you also might be grieved? Since among all creatures that breathe on earth and crawl on it there is not anywhere a thing more dismal than man is. At least the son of Priam, Hektor, shall not mount behind you in the carefully wrought chariot. I will not let him. Is it not enough for him that he has the armour and glories in wearing it? But now I will put vigour into your knees and your spirits so that you bring back Automedon out of the fighting safe to the hollow ships . . .'
So spoke Zeus, and breathed great vigour into the horses, and they shaking the dust from their manes to the ground lightly carried the running chariot among Akhaians and Trojans."

Homer, Iliad 19. 392 ff :
"Automedon and Alkimos, in charge of the horses, yoked them, and put the fair breast straps about them, and forced the bits home between their jaws, and pulled the reins back against the compacted chariot seat, and one, Automedon, took up the shining whip caught close in his hand and vaulted up to the chariot, while behind him Akhilleus helmed for battle took his stance shining in all his armour like the sun when he crosses above us, and cried in a terrible voice on the horses of his father : `Xanthos, Balios, Bay and Dapple, famed sons of Podarge, take care to bring in another way your charioteer back to the company of the Danaans, when we give over fighting, not leave him to lie fallen there, as you did Patroklos.’
Then from beneath the yoke the gleam-footed horse answered him, Xanthos, and as he spoke he bowed his head, so that all the mane fell away from the pad and swept the ground by the cross-yoke; the goddess of the white arms, Hera, had put a voice in him : `We shall still keep you safe for this time, o hard Akhilleus. And yet the day of your death is near, but it is not we who are to blame, but a great god and powerful Destiny. For it was not because we were slow, because wee were careless, but it was that high god, the child of lovely-haired Leto [Apollon], who killed him among the champions and gave the glory to Hektor. But for us, we two could run with the blast of the West Wind (Zephryos) who they say is the lightest of all things; yet still for you there is destiny to be killed in force by a god and a mortal.’
When he had spoken so the Erinyes stopped the voice in him, but deeply disturbed, Akhilleus of the swift feet answered him : `Xanthos, why do you prophesy my death? This is not for you. I myself know well it is destined for me to die here far from my beloved father and mother.'"

say!

Ichnography

The flat projection is the noise, the ichnography is the background noise, any scenography, any profile, and any appearance, are forms sprung from this background, signals come from this noise, percieved things born of these apperceptions.

Serres, Genesis
op cit