Thomas Robert Guest 1754–1818

ANNC (Prehist).514
Object types: vessel
Description: vessel
Materials: ceramic
Dimensions: 3.81 cm x 5.3975 cm (top) [height x diameter]
Date: Bronze Age (Britain) (c. 2500 - c. 800 cal. BC)
Period: Bronze Age (Britain) (c. 2500 - c. 800 cal. BC)
Associated Places: Winterslow Hut Barrow Group, Wiltshire, England (place of excavation)
Associated Persons: Allan Borman Hutchins (excavator)
Acquisition: Presented by the Rev. A. B. Hutchins, 1847.

`In field not far from road which leads from Amesbury turnpike into Bulford'. Prob. either BuLFORD 2, 3, or 4. Ex. A. B. Hutchins 1824 or earlier: primary (crouched?) skeleton, grooved dagger, and beaker beneath immense sarsen; 2 secondary cremations in urns, one being LBA with applied horse shoe bands. (Wessex grave 52.) Mod. Wilts. Hund. of Alderbury, 209 Arch. xliii. 350, fig. 27; BAP 373. Dagger in ASH; beaker lost? Urn in SAL (formerly in ASH.). 

The Winterslow Hut, Bronze Age, 1500 - 1150BC
Reverend Allan Borman Hutchins, the Curate of Grately, excavated a large bell barrow near The Old Pheasant Inn at Winterslow in 1814. Within the barrow he found at least three burials. The oldest was a male buried with a beaker pot. The middle burial was a cremation accompanied by a biconical urn. The final burial was also a cremation contained in an urn along with a bronze razor and a quanitity of hair. The hair has been reanalysed and is now thought to be sheep wool rather than human hair. One of the burials contained a number of amber beads, probably from a necklace. The smaller urn is in the ‘Trevisker’ style distinctive to south west Britain and is named after a site in Cornwall where it was first recognised.

The Winterslow Hut was an inn, now known as the Pheasant Inn. It was a famous coaching inn where William Hazlitt once resided and wrote his Winterslow Essays and which, at different times, was visited by Charles and Mary Lamb and Rudyard Kipling.

 It was here that the Exeter mail coach was attacked by a lioness in 1816. The lioness was part of a menagerie on its way to Salisbury Fair and severely mauled one of the horses plus a large Newfoundland dog before being recap-tured. The coach passengers with great presence of mind locked themselves inside the inn while the keepers recaptured the lioness from under a granary. Several of the inns on the turnpike and coaching roads in southern Wiltshire were 'Huts'. There was a Cribbage Hut at Sutton Mandeville, which must have been named from the card game that was played there. The word 'Hut' may have derived from its meaning of a shelter for troops which seems to been in use from the mid 16th century. The inn provided shelter to travellers for the night and may have begun life as a wooden hut.

A Bronze Age round barrow cemetery situated to the northwest of 'The Pheasant Hotel'. The cemetery comprises at least 13 round barrows, mainly bowl barrows visible as earthworks and cropmarks. Nine of the barrows were identified by Grinsell (1957) and designated as Winterslow 4-12. Five were visible as earthworks and four recorded as levelled earthworks. Two additional barrow sites were also recorded by Grinsell (undated) and another by Stephens and Stone (1939). Aerial photographs also show many circular cropmarks, interpreted as barrow sites within the vicinity of the cemetery. Ordnance Survey field investigations in October 1970 identified four of the barrows as definite earthworks and two as slight earthworks. None of the other barrow sites could be determined. The site of one other barrow site was recorded, it was visible as a very slight earthwork. Nine of the barrows have been scheduled. Two bowl barrows survive as substantial earthworks - one is 23 metres in diameter with a maximum height of 0.8 metres. The other has a diameter of 15 metres and maximum height of 1.2 metres. Both have traces of the barrow ditch visible. Three other barrows survive as slight earthworks ranging from 20 metres to 30 metres in diameter. The sites of three more barrows are visible on aerial photographs.

virtù-potenza // O Fortuna

Political decisiveness is defined – as Augusto Illuminati will put it in reading Althusser –as “the Machiavellian ability to seize fortuna by the hair at the right moment, realising in the moment all of its virtù-potenza


http://www.minorcompositions.info/wp-content/uploads/2012/10/contractandcontagion-web.pdfhttp://www.minorcompositions.info/wp-content/uploads/2012/10/contractandcontagion-web.pdf

A hair receiver

A hair receiver is a small pot, with a hole in the lid, kept on the dressing table in the Victorian era to store hair removed from brushes and combs. The hair was recycled in a number of ways—notably for stuffing small bags, about 8–10 centimetres (3–4 in) across, called ratts, used to bulk out women's hairstyles. Human hair was also used for stuffing pincushions and small furnishing cushions.
It was often paired with a matching trinket box or a powder jar or as part of a dressing table set, made mainly from porcelain, though glass, metal, and celluloid were also used. 

wikipedia

saint stephen

100% Human

i-borg / e-borg/ we-borg ...explaining pictures...

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'wie man dem toten Hasen die Bilder erklärt’

http://www.youtube.com/watch?v=P4ZkR1X6s7E

Meyer, Ursula. “How to Explain Pictures to a Dead Hare,” Art News, January, 1970. Based on conversations with Joseph Beuys:

In How to Explain Pictures to a Dead Hare, Beuys covered his head with honey and gold-leaf, transforming himself into a sculpture. He cradled the dead hare in his arms and took it “to the pictures and I explained to him everything that was to be seen. I let him touch the pictures with his paws and meanwhile talked to him about them… I explained them to him because I do not really like explaining them to people. Of course there is a shadow of truth in this. A hare comprehends more than many human beings with their stubborn rationalism… I told him that he needed only to scan the picture to understand what is really important about it. The hare probably knows better than man that directions are important. You know the hare can turn on a dime. And actually nothing else is involved.”

At the beginning of the performance Beuys locked the gallery doors from the inside, leaving the gallery-goers outside. They could observe the scene within only through the windows. With his head entirely coated in honey and gold leaf, he began to explain pictures to a dead hare. Whispering to the dead animal on his arm in an apparent dialog, he processed through the exhibit from artwork to artwork. Occasionally he would stop and return to the center of the gallery, where he stepped over a dead fir tree that lay on the floor.^[2] After three hours the public was let into the room. Beuys sat upon a stool in the entrance area with the hare on his arm and his back to the onlookers.

“For me the Hare is a symbol of incarnation, which the hare really enacts- something a human can only do in imagination. It burrows, building itself a home in the earth. Thus it incarnates itself in the earth: that alone is important. So it seems to me. Honey on my head of course has to do with thought. While humans do not have the ability to produce honey, they do have the ability to think, to produce ideas. Therefore the stale and morbid nature of thought is once again made living. Honey is an undoubtedly living substance- human thoughts can also become alive. On the other hand intellectualizing can be deadly to thought: one can talk one's mind to death in politics or in academia.”