Artefacts

Ce petit fascicule fait suite à une formation menée en autodidacte, combinant la photogrammétrie et des objets archéologiques – en particulier des statues de l'Antiquité. Il est destiné à toutes personnes, novices à experts,
désirant apprendre ou garder une trace écrite.

Le mode d'emploi ci-présent propose de suivre pas à pas l'utilisation du logiciel de photogrammétrie, Agisoft Metashape. Ce logiciel permet l'acquisition numérique d'une partie d'un objet, d'un objet, d'éléments architecturaux avec un appareil photo, ou encore de monuments et de terrains avec un drone. La technique de photogrammétrie repose sur une numérisation tridimensionnelle d'une surface réelle au moyen de photographies (N > 2).

This article casts light on the last segment of Knud Rasmussen’s “grand expedition,” his trip to Chukotka,
in the Russian Far East, in September 1924. He spent somewhere between 18 and 48 hours in Chukotka
before he was deported back to Alaska, and it is doubtful that he was able to bring any significant local
objects back with him. Yet the Fifth Thule Expedition’s Siberian Collection at the National Museum
of Denmark includes about 1,000 items. Most of these objects were purchased by Rasmussen after his
return and donated to the museum as an extension of the Fifth Thule work. The article discusses the
significance of Rasmussen’s trip to Chukotka and the origin of the expedition’s Siberian collection. It is
also an attempt to challenge our traditional understanding of an “expedition” as a purposeful journey
with a definitive beginning and end.

Despite an infelicitous tradition downgrading their status, technical artefacts are increasingly acquiring their place in contemporary ontology. However, although most metaphysicians currently allow for an ontological consideration of artefacts, they define the class of artefacts differently and disagree on the essence of artificial objects. In this paper, I present a handful of recent accounts of artefacts, with particular regards to the hylomorphic framework. I make an attempt at reconstructing the debate on the spectrum of artefacts and the ways in which artefacts’ essences are singled out. Moreover, I indicate special cases, such as ready-mades and malfunctioning objects, which seem to constitute a threat for the presented accounts. Thereafter, I propose that Aristotle’s account of artefacts embraces the challenges of the contemporary debate. I also attempt to demonstrate that his theory of artefacts escapes the abovementioned threats. While unfolding Aristotle’s conceptual tools against such threats, I present his account of artefacts as hylomorphic and, hence, essentialist.

The term transitional art  was first introduced by an anthropologist Nelson Graburn in the mid seventies of the twentieth century. Graburn stated that the defined phenomenon refers to the cultural production of this group of the Third World population which he regards as completely and well assimilated with the Western culture and which forms a new kind of community, defined by him as the „Fourth World”. The scholar was careful to underline that his proposed division of art is particularly adequate in respect to this part of the „conquered minority” of the population which is quite susceptible and prone to such behavioral patterns as joining into the new society and at the same time submissive to the ways and patterns of the European civilization and which gives up easily placement in their own cultural context.
The principal object of this text is the art of the Republic South Africa. The problems concerning  transitional art  are ever so present and quite visible in many exhibitions and critical texts relating to art originating from this area of the world (ex.: A. Nettleton,  M. Martin, M. Manaka). The term transitional art  seems to be especially well connected with the black art of South Africa and most often applied to the works of such black artists, as ex.: N. Mabasy, P. Seoka, J. Maswanganyi, B. Makhubele or J. Hlungwane.
Nevertheless it is interesting to observe that as a result of political changes that occurred 17 years ago in South Africa – the abolition of apartheid in 1994 – today more and more white artists such as ex.: A. Botha, N. Catherine, B. Blignaut, C. Schreuders – create art works which can be defined as transitional art and which are well assimilated with the dominant black culture.

Die Texte dieses Bandes legen ausgehend von griechischen und römischen Kunstwerken dar, wie Leistungen des menschlichen Intellekts in unterschiedlichen Medien und zu verschiedenen Zeiten eine konkrete erlebbare Form erhalten haben und welche Wirkmacht sie gerade durch die Ausgestaltung entfalten konnten.
Antike Artefakte wie Statuen, Reliefs oder Gemälde gaben Vorstellungen und Wissen eine sinnlich erfahrbare Form, machten sie anschaulich, überzeugend und dauerhaft. Zugleich veränderten sie intellektuelle Leistungen, indem sie bestimmte Aspekte betonten, präzisierten oder neu kombinierten, andere aber reduzierten oder ganz wegließen. Das Buch untersucht ihre Entstehung als materielle Konkretisierung epistemischer Elemente und die medialen Bedingungen der Gestaltungsprozesse ebenso wie die Auswirkungen der gewordenen Form. Es legt den dafür entwickelten methodischen Ansatz des Internationalen Kollegs Morphomata dar und verbindet Fallstudien aus der Klassischen Archäologie mit Überlegungen zu zentralen Aspekten der materiellen Kultur.

In 2009, a metal-detector find of a rare garnet-inlaid composite disc brooch at West Hanney, Oxfordshire, led to the excavation of an apparently isolated female burial sited in a prominent position overlooking the Ock valley. The burial dates to the middle decades of the seventh century, a period of rapid socio-political development in the region, which formed the early heartland of the Anglo-Saxon kingdom of Wessex. The de luxe brooch links the wearer to two other burials furnished with very similar brooches at Milton, some 10km to the east and only c 1km from the Anglo-Saxon great hall complex at Sutton Courtenay / Drayton, just south of Abingdon. All three women must have been members of the region’s politically dominant group, known as the Gewisse. The burial’s grave goods and setting add a new dimension to our understanding of the richly furnished female burials that are such a prominent feature of the funerary record of seventh-century England.

Looking at snuff bottles allows to look at the complexity and variety of Qing Dynasty culture. The use of snuff started from the Imperial Court, and from there spread throughout the upper class, and then to the other levels of society. Snuff bottles soon became a coveted object of beauty and a way to represent status and wealth.

Throughout the catalogue you’ll find some paintings from my “Flowers of the Heart” series. They match the floral decorations which are one of the main iconographic themes in the decoration of snuff bottles. As flowers and plants were considered to represent virtues and qualities on snuff bottles, so the flowers in my paintings were created as an homage to the most profound feelings embedded in human nature: love, friendship, family, loyalty, affection.

Each of these bottles is a work of art: an accomplishment of a master carver, a master painter, or of a master artist. Still today if the connoisseur invests time in studying these artefacts, they become veritable passageways to the world of the Qing Dynasty.

A Viking Age Anglo Scandinavian drinking horn finial.
From status symbol to symbol for vanity and luxury - showing the temptation of Christ.

This article I like to take you on a trip alongside one of the distinct Viking Age attributes of noble descent, the drinking horn.

A rare Chalcolithic rolled-gold bead-like ornament dated to c. 2400–2200 cal. BC was found in association with sherds of early Beaker ware in an Early Bronze Age Collared Urn burial dated
to c. 1545–1450 cal. BC. The grave was located at Pendleton, Lancashire. This paper reports on the AMS radiocarbon dates for the burial context along with X-ray composition analysis of the
gold ornament, which shows the object had a high platinum content consistent with alluvial, placer, deposits possibly originating in Brittany, France rather than the British Isles. This
unparalleled rolled-gold ornament is compared to the corpus of British and French rolled-gold ornaments and contemporary goldwork and a provenance, manufacture and biography of the find is explored. Both curation and fragmentation are considered in the context of a dated Beaker ware assemblage from the local domestic site of Lower Brockholes, Preston, as well as existing corpora of Beaker and Collared Urn ware from the region.

In the forthcoming blogs I like you to take me along with a journey to Cumbria, England wich I just visited. Several interesting Viking Age stone sculpture artefacts can be seen there. The attractiviness is, they can be seen 'on the spot' (or very nearby, sheltered in the churches !) where they have always been. Almost no need to go to musea here - it is still there, in the wild..

In our research work, we have looked at the way in which artefacts become, for teachers as well as for students, instruments of their mathematical activity. The issues related to the use of tools and technologies in mathematical education are now widely considered. A look to history highlights the different ways in which the same questions have been studied at different times and in different places. This suggests that the contribution of artefacts to mathematics learning should be considered in terms of various contexts. Our ‘‘visits’’ to these contexts will be guided by the coordination of two main theoretical frameworks, the instrumental approach and the semiotic mediation approach from the perspective of mathematics laboratory. This journey through history and schooling represents a good occasion to address some questions: Are there ‘‘good’’ contexts in which to develop mathematical instruments? Are there ‘‘good’’ teaching practices which assist students’ instrumental geneses and construct mathematical meanings? How is it possible to promote such teaching practices? Some study cases are discussed.

With the story of Pygmalion, the classical embodiment of the 'living image', the mythographers were allowed to compare the creative role of such a legendary character, capable of devising animated and rational beings, with the power of the gods. Besides this one, other accounts from Antiquity have come to us with the same blend of aesthetics, magic and technical skill, largely referred to Praxiteles and his most famous sculptures: the Aphrodite of Knidos and the Erotes of Parion and Thespiae. All these testimonies exemplify the so-called 'love for statues', also known as 'Pygmalionism' or more frequently as 'Agalmatophilia'. This paper analyses the main consequences of Agalmatophilia and Imitatio Creatoris: the power of the deus artifex, the bond between the artist and his creation, and the composite condition —half alive, half artificial— of the artefact produced. Through the Post-Classical Age, Agalmatophilia successively became an apologetic model to discourse on the dangers of idolatry; a moralising exemplum; a glorification of the genius and a claim for the debate on the paragone during the Renaissance and Baroque periods. In the 18th Century, by way of coda, the figure of Pygmalion would be praised as an allegory of the creative endeavour of the early Greek artists.

Lusitania, the Roman province reorganized in the time of Augustus, covered a wide area of territory in the Iberian Peninsula. Despite the collapse of the political and administra- tive structures of the Roman Empire in the second half of the fifth century A.D., Lusitania maintai- ned a set of characteristics that continued to enable its identification as heiress of romanitas. On the other hand, it became dominated by other powers, by new elites and their affirmation strategies: and in fact, in the sixth century, it was already integrated in the visigothic kingdom formed in the meantime. In the background, Christianity: not univocal, but composed of several voices and, con- sequently, materialized in different ways.
Funeral archaeology focused on these centuries reveals a multitude of options that challenge interpretation. Burial contexts where the deceased appear stripped of materials “coexist” with depositions associated with multiple types of artefacts. And if some of them are destined for the adornment of the bodies, what supposedly recalls pagan traditions others are imbued with a dis- tinctive Christological dimension. Through the observation of different of Lusitania ́s different funerary spaces with tombs attributed to the v-vI centuries, we propose to analyse the metallic materials channelled towards the tombs and to question the meaning inherent to their presence, underlining the contradictions or symbiosis they illustrate.

Collection usually comprise artefacts from many different categories, according to the particular interest of the collector. The Maria and George Severeanu collection, donated to the Bucharest Municipality Museum in 1939, consists of over 3000 archaeological artefacts and over 8000 coins. George Severeanu was an avid and dedicated collector, managing to publish a total of 76 papers on different categories of artefacts, taking his passion to another level, beyond the aesthetics of the artefacts themselves. Currently, most of the collection is on display and there are new approaches meant to revisit, reevaluate and contextualize the objects. Many of the artefacts have an unknown origin, while some are registered as originating from Moesia Inferior/ Scythia, modern day Dobroudja, but also from other regions of the country and the larger Black Sea area.

TILBAKEMELDINGER OG BRUKEN AV FINNERLØNN TIL FINNERE AV LØSE KULTURMINNER I NORGE:
- Ulike betraktninger og problemstillinger rundt dagens praktisering av tilbakemeldinger fra kulturminnevernet, herav også bruken av finnerlønn, sett opp mot kulturminnevern av løse gjenstander og metallsøking i særdeleshet.

A very rare intact silver ring from the Viking Age recently had been found in the borough of Buren. Cees-Jan van de Pol detected the ring with his metal detector.
On the same location also a piece of melted silver in the form of a drop was found together with a silver coin from the 10th century in the clay ground of the Betuwe.

Bancos zoomorfos, Mastros, Clarinetes e Maracás são itens fundamentais do turé dos índios Galibi-Marworno do norte do Amapá. Ao
contrário de meramente comporem o acervo de objetos rituais, esses elementos são, simultaneamente, partícipes e destinatários da cerimônia, uma
vez que são Karuãna com invólucro de artefatos atuantes, notadamente na
cura e causação de doenças. O presente texto visa refletir sobre a gênese da
agência extra-humana e sobre modos de distribuição da pessoa no pensamento xamânico regional que atribui intencionalidade e capacidade de rela-
ção aos artefatos rituais.

From Skarkos to Poliochni: observations on the socio-economic development of the EBA settlements in the Cyclades and the islands of the Northeast Aegean

On the basis of the most recent excavation data from the Cyclades and the islands of the Northeast Aegean, a comparative study between the settlements of the two regions during the EBA is attempted. The aim of the study is to understand better the similarities and differences at the level of material culture and, by extension, at the level of socio-economic organization, between the two areas. Skarkos on Ios and Poliochni on Limnos are used as representative examples for the Cyclades and the islands of the Northeast Aegean respectively, and, where necessary evidence from other settlements are included as well. At Skarkos only one phase of habitation, corresponding chronologically to the end of the Keros-Syros group period, has been confirmed by excavation to date. At Poliochni, the phases of occupation start from the Neolithic era, span the whole of the EBA and continue to the later periods.

The size of Skarkos is estimated at approx. 1.1 hectares, whereas the extent of Poliochni Green and Red (periods III-IV) is estimated at approx. 1.385 hectares and that of Poliochni Yellow (period V) at approx. 1.5 hectares. Consequently, Poliochni was approx. some 0.3 to 0.4 hectares larger than Skarkos. However, this does not necessarily imply that the population of Poliochni was proportionately larger than that of Skarkos, because Poliochni consisted of one-storey buildings.

The level of town planning appears to be equal at Skarkos and Poliochni. The adaptation of the town plan to the geomorphology, specifically the low hill on which each settlement was built, is excellent. There is also a correspondence in the separation of areas of private and common use in both sites. Recent research at the settlement of Markiani on Amorgos has shown that there were walled settlements in the Cyclades already from the Keros-Syros group period and possibly from the earlier Grotta-Pelos group period. The latter corresponds partly to Poliochni period II (Poliochni Blue period) during which the walls of the town were erected. At Poliochni there were communal wells for drawing water, whereas in the Cycladic settlements the source of drinking water was outside the site, as the evidence from Ayia Irini on Keos demonstrates. Both Poliochni and some Cycladic settlements, such as Ayia Irini on Keos and Markiani on Amorgos, featured drainage systems for rainwater.

Skarkos and Poliochni both developed in an agglomerative manner, yet the different geomorphology of the heights on which they were built and the different architectural tradition resulted in: two-storey buildings with independent external walls at Skarkos and one-storey buildings with common external walls with the neighbouring buildings at Poliochni. At both sites, some of the buildings are larger and more complex than others, a feature indicating social stratification. The houses in both settlements are otherwise similar in architectural arrangement and basic functions. The courtyards were used, apart from their other functions, as cooking areas at Skarkos on Ios, Kastri on Syros and Emborio on Chios.

Certain similarities between the artefacts of Skarkos and Poliochni are present as well. Large barrel-shaped pithoi for the storage of goods and ellipsoidal stone querns for the grinding of cereals were common in both settlements. Clay spoons, disk-shaped objects made of potsherds, simple or pierced, bone tubes and pointed tools are included in the household equipment at both sites. Finally, in both settlements a statement of ownership or personal identity was necessary, as the seals found at Poliochni and the seal-impressed rectangular clay objects excavated at Skarkos reveal.

Many contemporary scholars have recently defended the idea that the agency of things is symmetrical and equivalent to human agency. We propose an alternative approach to artefacts’ agency based on a field study concerned with contextually situated observations of the process of design of artefacts in Amazonia. By means of participant observation and interviews, we address the role of artefacts in relation to human agency. In so doing, we focus on the human-unique capacity for design as it is related to cognitive resources such as intentionality, decision-making, planning, and volitional adaptations of the material world to human purposes. We argue that such cognitive resources are ultimate manifestations of human agency. The findings allow us to conclude that artefacts possess a special form of agency, which operates in different ways from the agency of true agents. This agency is derived: it depends on the actions of true agents, with either function as remote intentions or are req...

The paper provides an overview of the vocabulary for materiality which is used by practice-based approaches to organizational knowing.

Design methodology approach - The overview is theoretically generated and is based on the anthology Knowing in Organizations: A Practice-based Approach edited by Nicolini, Gherardi and Yanow. The overview is built by cross-reading the analyses in this book. The intellectual traditions which are scrutinized all agree that action is materially embedded - objects and artifacts are central to both knowing and learning. But what is their understanding of materiality? The paper explores which concepts are used, how the interaction between social and material realities is presented, and the role materiality is perceived to have in relation to action.

Findings - Findings are that, within the practice-based approach, common terms for materiality are "artifact" and "object". The interaction between social and material realities is grasped as several processes: object-oriented activity, symbolization, embodiment, performance, alignment and mediation. Material artifacts both stabilize and destabilize organizational action. They may ensure coordination, communication, and control, but they may also create disturbance and conflict.

Originality value - The paper lists a range of options for conceptualizing how organizational action may be materially mediated. It points out that material entities may both stabilize and destabilize organizational action. It contributes to the further understanding of the tangible, artifactual and object-related side of organizational knowing.

Resumen: Emilio Pérez Piñero es un arquitecto que opera en la década de los sesenta en España, país que comienza a salir de un periodo de autarquía. Su obra no es muy conocida y no está estudiada en profundidad, no existiendo casi documentos sobre ella, estando éstos centrados principalmente en aspectos descriptivos, constructivos o estructurales, que fueron obviamente de gran importancia, pero no avanzan en aquellos que están relacionados con el proyecto arquitectónico, desde su concepción hasta su realización. Por otro lado se coloca la figura del arquitecto español frente a los movimientos y tendencias internacionales que se producen en la década de los sesenta, un periodo de gran producción donde los vínculos con el movimiento Moderno se rompen, quizás por la incapacidad de éste para afrontar los nuevos problemas que acechan a la sociedad. Este documento intenta por un lado realizar una labor de documentación de la obra del arquitecto Emilio Pérez Piñero desde el punto de vista del proyecto arquitectónico y por otro ensayar una metodología crítica que pueda ser fácilmente extrapolable a otros arquitectos que se encuentren en la frontera entre realizaciones arquitectónicas e ingenieriles. De esta manera y como se comenta en el apartado Metodología. Análisis de la obra, las herramientas proyectuales que se crean para tal cometido son cinco que abordan la producción arquitectónica del autor desde cinco frentes diferentes. Estos apartados son La obra de Emilio Pérez Piñero se desarrolla entre los años 1961 y 1972 año en el que muere en un accidente de tráfico volviendo de Figueras, se centra principalmente en artefactos desplegables y desmontables, ejecutando prototipos que en el presente trabajo se han dividido en dos grupos; la cúpula reticular y la infraestructura. No pudo por tanto acudir al Congreso de 1972 de la UIA a recoger el premio Auguste Perret a la innovación tecnológica, que en años anteriores habían recibido Félix Candela, Jean Prouvé, Hans Scharoun o Frei Otto, y que en aquella ocasión tuvo que recoger su viuda. Parámetros como el de la movilidad, indeterminación, intercambiabilidad, obsolescencia y otros que se analizan en el presente trabajo, aparecen a lo largo de toda su obra ya que muchos de sus artefactos están ubicados en no-lugares y tienen un carácter itinerante y por tanto se hace indispensable su rápido montaje y desmontaje, que unas veces se resuelve mediante la desmontabilidad y otras con la plegabilidad de éstos. Objeto de este trabajo será relacionar los conceptos que aparecen fuertemente en el entorno de la década de los años sesenta del siglo XX, en el trabajo de Emilio Pérez Piñero. Parámetros encontrados como conceptos en los grupos de vanguardia y utopía a su vez fuertemente influenciados por las figuras del ingeniero Richard Buckminster Fuller y del arquitecto Konrad Wachsmann.

Artefacts are usually understood in contrast with natural kinds and conceived as a unitary kind. Here we propose that there is in fact a variety of artefacts: from the more concrete to the more abstract ones. Moreover, not every artefact is able to fulfil its function thanks to its physical properties: Some artefacts, particularly what we call “institutional” artefacts, are symbolic in nature and require a system of rules
to exist and to fulfil their function. Adopting a standard method to measure conceptual
representation (the property generation task), we have experimentally explored
how humans conceptualise these different kinds of artefacts. Results indicate that
institutional artefacts are typically opposed to social objects, while being more similar
to standard artefacts, be they abstract or concrete.

The aim of the seminar is to get at the heart of the studio and clarify the role of imagination in architecture. How do we imagine and how do we make? How do our surroundings be both a lab to test our concepts and simultaneously the means by which we imagine a new world? Thus the seminar is a hybrid; it encourages thinking creatively and critically and involves writing and making.

Contents:
1. Introduction
2. Course Outline
3. Student Recollection
4. Student’s Evaluation of Instructor
5. Blackboard inscriptions (photographed by students)

Cross Reference. See also
“Seminar: Six Degrees of Architecture Students Work” in Syllabi Section
"Lightness" in Calligraphy Section

In 1925, dozens of small finds from the Egypt Exploration Society’s excavations at Tell el-Amarna in Egypt were bestowed to the Nicholson Museum, now known as the Nicholson Collection, Chau Chak Wing Museum, The University of Sydney. Discovered in the 1923–1924 and 1924–1925 seasons that focused on the Main City and the North Palace, the majority of the objects date to the religiously tumultuous Amarna Period towards the end of the Eighteenth Dynasty. Seven of the artefacts bequeathed to the Nicholson represent a variety of fauna, including reptiles, mammals, and birds, and shed light into private religious practices, the symbolism imbued in certain objects, and the ancient Egyptians’ exceptional observational power of the natural world.

In der Debatte um die Ontologie natürlicher Arten liegt ein Schwerpunkt auf der Frage, was diese von einer sozialen Art, wie der der Artefakte, unterscheidet. Einigen Autoren wie Thomasson (2007) zufolge, besteht ein grundlegender Unterschied zwischen natürlichen Arten und Artefakten darin, dass die Identitätsbedingungen von Artefakten in entscheidendem Maße von der Intention und dem Konzept des Subjekts abhängen, welches das Objekt produzierte. In diesem Essay werde ich dafür argumentieren, dass Intentionalität und Konzeptionalität weder hinreichende noch notwendige Kriterien darstellen, um Artefakte von natürlichen Arten zu unterscheiden. Meine Argumentation wird sich dabei maßgeblich auf die Annahmen stützen, dass es sich (a) bei Entitäten, die Instanzen von Arten sind, um Objekte handelt, (b) erst die Anwendung sortaler Begriffe auf Phänomene überhaupt Objekte erzeugt, und (c) bei der Individuation von Objekten durch Anwendung sortaler Begriffe auf Phänomene Intentionen eine zentrale Rolle spielen. Es wird sich zeigen, dass auch Objekte, auf die wir uns mit natürlichen-Arten-Termen beziehen, Produkte intentionaler Herstellungsverfahren sind. Eine mögliche Reaktion auf eine diesbezüglich gelungene Argumentation ist, die Artefaktkategorie als grundlegendere ontologische Kategorie anzunehmen.

BACKGROUND The quantitative features of a capnogram signal are important clinical metrics in assessing pulmonary function. However, these features should be quantified from the regular (artefact-free) segments of the capnogram waveform. OBJECTIVE This paper presents a machine learning-based approach for the automatic classification of regular and irregular capnogram segments. METHODS Herein, we proposed four time- and two frequency-domain features experimented with the support vector machine classifier through ten-fold cross-validation. MATLAB simulation was conducted on 100 regular and 100 irregular 15 s capnogram segments. Analysis of variance was performed to investigate the significance of the proposed features. Pearson's correlation was utilized to select the relatively most substantial ones, namely variance and the area under normalized magnitude spectrum. Classification performance, using these features, was evaluated against two feature sets in which either time- or freq...

This research paper aims at an understanding of services based on information and communication technology that is sharper in its conceptual analysis than is usually presented. We first outline some relevant issues on the research on service marketing and on the information technology artefact. Next, the role of this artefact as a constituent of information technology (IT) services is derived. As an example we make use of historical development banking services. Further, three different categories of services are identified. Finally, potential avenues for further research are proposed.

""Si les liens historiques entre les Cyclades et l'île de Thasos se marquent par des biais évidents (céramique, sculpture), il est un domaine de comparaison qu'on oublie trop souvent, celui du matériel votif.  Les offrandes dans les sanctuaires thasiens présentent des similitudes intéressantes avec les realia décrits dans les inventaires des sanctuaires déliens. En
partant de quelques termes recensés dans les inscriptions, on tentera de trouver leurs parallèles dans les nombreuses offrandes livrées par les fouilles de l'Artémision thasien
et on verra aussi si certains objets thasiens comportent un correspondant délien. Ce sera donc l'occasion de souligner l'intérêt des études qui allient épigraphie et archéologie.

If the historical links between Cyclades and Thasos island are marked by obvious skews (ceramic, sculpture), there is a field of comparison we forget too often, the votive material. The offerings in the Thasian sanctuaries yet have interesting similarities with the realia described in the inventories of the Delian sanctuaries for example. On the basis of some terms listed in the inventories of Delos, we will attempt to find their
parallels in the votive material found in the excavations of the Thasian Artemision. Meanwhile, we'll see if some Thasian offerings have a Delian parallel. This « aller- retour » will therefore be the occasion of throwing a bridge between the mentions of offerings in the epigraphic sources and their correspondents found during excavations, to emphasize the importance of a study combining epigraphy and archaeology. ""

Capnogram signal analysis has received considerable attention owing to its important applications in assessing cardiopulmonary functions. However, the automatic elimination of deformed parts of a capnogram waveform remains an open research problem. Herein, we introduce an automatic classification approach for discriminating artefact-free (regular) and distorted (irregular) segments of capnogram signals. The proposed features include Hjorth parameters and mean absolute deviation (MAD). The main advantage of these features is their simplicity, such that they can be employed in a computationally efficient machine learning algorithm. MATLAB simulation is conducted on 100 regular and 100 irregular segments of capnogram to extract the proposed and existing features, which are ranked based on the Pearson correlation coefficient, p-value and area under receiver operating characteristic (ROC) curve. The naive Bayes, decision tree, random forest and support vector machine (SVM) classifiers are fed by the relatively highly ranked features, and the classification performance is assessed via ten-fold cross-validation. Besides the linear kernel SVM, the radial basis function (RBF) and polynomial kernel functions with different orders are also included in the current experiment. Results revealed the effectiveness of the Hjorth activity and MAD attributes when used with the fourth-order polynomial kernel-SVM classifier. The achieved accuracy, precision and specificity are 89%, 92.1%, and 91% outperforming the existing method by 2.5%, 5.6% and 7%, respectively. The simplicity of the proposed time-domain features is confirmed by the average total computational time of features extraction and classification phases which is only 13 ms instead of 19 ms in the case of incorporating both time- and frequency-domain features, indicating a reduction of 31.6%. It is envisaged that the proposed approach can be valuable if implemented with capnography devices for real-time and fully automated capnogram-based respiratory assessment. Even so, further research is recommended to enhance the classification performance through exploring more features and/or classifiers.

Generating novel and sustainable business model ideas is a crucial yet challenging innovation task. A growing body of literature shows that artefacts, such as visual templates,
objects and sketches, can enhance team collaboration and creativity in innovation activities.
Drawing on literature from diverse fields we propose a model that aims to explain how artefacts can affect the team processes in developing new business model ideas, positing that they have an impact on creativity and collaboration. We report the results of an illustrative experimental study comparing the team processes of managers working on a business model innovation task. Teams were supported by different types of artefacts
(a business model template; physical objects with sketching; or PowerPoint). The results indicate that using the template significantly increases perceived collaboration and
decreases perceived creativity, hence showing that artefacts can have the power to shape team work for innovation tasks.

The Calvinian Quad Group Photograph

Sampling of projects:
1. Quickness Artefact: The Fabric of Space & Time _ Hadiya Al Idrissi
2. Visibility & Multiplicity Artefacts _ Mackenzie Mclean
3. Constant of Change: The Consistency _ Frank Wen Yao

Cross Reference. See also:
"Seminar: Six Degrees of Architecture" in Syllabi Section
"Lightness" in Calligraphy Section

The roman bathhouse of Cinais (Indre-et-Loire, France) was discovered during the digging of a 450 m2 drainage basin. The abundance of architectural elements and furniture made it possible to temporarily halt the work and to set up an urgent rescue excavation.
This intervention made it possible to identify a thermal complex frequented from the 2nd to the 4th century AD. The first two states of the 2nd-3rd century have few changes and show a building opening onto a palestra with a warm room to the south. The hypocaust is based on pilae stacks and the bathing program implements a retrograde in-line circuit. In the north-west, we note the very partial conservation of a second undated thermal baths system. At the end of the 3rd century, a collective immersion basin is inserted into the complex before a fire affected a large part of the halls and the palestra. The repairs and extensions at the very beginning of the 4th century were associated with the abandon of the hypocaust pilae system in favour of canals, but the most important change was the introduction of a dextrogyrous circular circuit, a relatively rare type in the Roman provinces. At that time, the bathing facilities covered an area of 95 m2.
Among the metal furniture, transport and trade are widely illustrated, with the presence of harnesses, weights and especially many coins. These elements and the topographical situation of the site suggest that these thermal baths are associated with a small secondary agglomeration, in relation to a road junction and a load breaking point on the river Vienne.

More information here : https://journals.openedition.org/racf/3529