cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.6084/m9.figshare.14327503
title: The syntax of composite bodies: agency and transformation in the iconography of Marajoara ceramic tangas

description: Abstract This article explores certain stylistic and iconographic aspects of Marajoara ceramic ‘tangas’ (pubic covers), within the subject of corporeality, and especially notions of body composition, fabrication and transformation. The focus on the ‘tanga’ category aims to untangle some of the aspects related to Marajoara figurative regime, especially with regard to the forms of materialization of cosmological principles, related to fabrication, composition and transformability of bodies. In this sense, the iconography of these objects shows composite bodies elaborated through the integration of a myriad of beings and their anatomical parts, as well as the use of graphic resources that possibly indicate corporeal transformations. This syntax of composite bodies, therefore, can be a crucial point to understand the role of tangas, and a basis to suggest that tangas actually fabricated multicomposite bodies and people.
DOI: 10.6084/m9.figshare.14327503.v1
title: The syntax of composite bodies: agency and transformation in the iconography of Marajoara ceramic tangas

description: Abstract This article explores certain stylistic and iconographic aspects of Marajoara ceramic ‘tangas’ (pubic covers), within the subject of corporeality, and especially notions of body composition, fabrication and transformation. The focus on the ‘tanga’ category aims to untangle some of the aspects related to Marajoara figurative regime, especially with regard to the forms of materialization of cosmological principles, related to fabrication, composition and transformability of bodies. In this sense, the iconography of these objects shows composite bodies elaborated through the integration of a myriad of beings and their anatomical parts, as well as the use of graphic resources that possibly indicate corporeal transformations. This syntax of composite bodies, therefore, can be a crucial point to understand the role of tangas, and a basis to suggest that tangas actually fabricated multicomposite bodies and people.
DOI: 10.6084/m9.figshare.14327505
title: The perforated discs of the Tapajonic period: technological analysis and contextual issues

description: Abstract The perforated discs from the municipality of Santarém-PA are unique objects within Amazonian material culture repertoire. They were sculpted on a variety of raw materials, however, the most elaborate were produced with fine grained, homogeneous iron oxides. Previously identified as spindle whorls, these often-fragmented artifacts are found in archaeological sites from the Tapajonic Period, from approximately from the 10th century until the present. Decorated with very fine lines, these discs display graphic motifs that are absent on Tapajonic ceramics. This article addresses the context of archaeological sites in Santarém through a study of such artifacts from a collection housed in the reserve of the UFOPA Archaeology Laboratory (the Juma Janaína collection), in addition to artifacts from other collections and publications. The discs were analyzed following the concept of the chaîne opératoire, considering the processes involved in raw material acquisition, sculpting techniques, uses, disposals and recycling of these items. By advancing beyond typological studies, this investigation demonstrates that substantial progress in the analyses of technologies and in the discussion of contexts have led to alternative interpretations and revised previous ones shaped by preconceived assumptions about the technological knowledge of ancient Amazonian groups.
DOI: 10.6084/m9.figshare.14327505.v1
title: The perforated discs of the Tapajonic period: technological analysis and contextual issues

description: Abstract The perforated discs from the municipality of Santarém-PA are unique objects within Amazonian material culture repertoire. They were sculpted on a variety of raw materials, however, the most elaborate were produced with fine grained, homogeneous iron oxides. Previously identified as spindle whorls, these often-fragmented artifacts are found in archaeological sites from the Tapajonic Period, from approximately from the 10th century until the present. Decorated with very fine lines, these discs display graphic motifs that are absent on Tapajonic ceramics. This article addresses the context of archaeological sites in Santarém through a study of such artifacts from a collection housed in the reserve of the UFOPA Archaeology Laboratory (the Juma Janaína collection), in addition to artifacts from other collections and publications. The discs were analyzed following the concept of the chaîne opératoire, considering the processes involved in raw material acquisition, sculpting techniques, uses, disposals and recycling of these items. By advancing beyond typological studies, this investigation demonstrates that substantial progress in the analyses of technologies and in the discussion of contexts have led to alternative interpretations and revised previous ones shaped by preconceived assumptions about the technological knowledge of ancient Amazonian groups.
DOI: 10.6084/m9.figshare.14327508
title: Clay bodies, people’s bodies: metaphors in iconography of Polychrome funerary urns

description: Resumo In recent years Amazonian ethnology has proposed a theory of the Amerindian body which sees it as a matrix of relationships and transformations. The resulting possibilities of fluidity between different bodies and perspectives inscribed in these models would be some of the pillars of a Lowlands’ cosmopolitics and would be represented through different expressions such as images, rites, songs, dances and artifacts. In this sense, aesthetic expressions are understood as agent elements within the circles of human and non-human relations and can materialize certain aspects of particular universes and of social and symbolic performances. Based on these propositions, we explore a dialogue between Archaeology and Ethnology, analyzing the iconographic language of the funerary urns of the Polychrome Tradition of the Amazon, in the lower and medium Solimões River. Such artifacts can be interpreted as bodies, composed of two- and three-dimensional human and animal references and are covered with elaborate motifs. This essay aims to interpret the iconography of these objects based on their body elements and how they may reveal notions related to the production and constitution of bodies and social agents.
DOI: 10.6084/m9.figshare.14327508.v1
title: Clay bodies, people’s bodies: metaphors in iconography of Polychrome funerary urns

description: Resumo In recent years Amazonian ethnology has proposed a theory of the Amerindian body which sees it as a matrix of relationships and transformations. The resulting possibilities of fluidity between different bodies and perspectives inscribed in these models would be some of the pillars of a Lowlands’ cosmopolitics and would be represented through different expressions such as images, rites, songs, dances and artifacts. In this sense, aesthetic expressions are understood as agent elements within the circles of human and non-human relations and can materialize certain aspects of particular universes and of social and symbolic performances. Based on these propositions, we explore a dialogue between Archaeology and Ethnology, analyzing the iconographic language of the funerary urns of the Polychrome Tradition of the Amazon, in the lower and medium Solimões River. Such artifacts can be interpreted as bodies, composed of two- and three-dimensional human and animal references and are covered with elaborate motifs. This essay aims to interpret the iconography of these objects based on their body elements and how they may reveal notions related to the production and constitution of bodies and social agents.
DOI: 10.6084/m9.figshare.14327509.v1
title: Revisiting alter egos: superimposed figures in Konduri iconography and its relationship with shamanism

description: Abstract The notion of alter ego has been used since the early twentieth century to describe a motif characterized by the superposition of one figure by another in pre-colonial iconographies of northern South America. This term also refers to its interpretation based on ethnographic analogy of Amerindian concepts. This paper presents a discussion of the supposed alter egos found in Konduri ceramic style (c. AD 1250-1650). Systematic analysis of thousands of fragments and some whole vessels allowed to identify three motifs with birds, heads of birds, or quadrupeds above the heads of anthropomorphic or zooanthropomorphic figures. Beyond the direct representation of certain relationships with souls or spirits, superposition are part of visual techniques and themes indexing body metamorphosis. From the colonial chronicles and hypotheses about vessels functions, its possible do suppose that these figures acted over observers, users and their contents in feasts and shamanic practices. These depictions display postures and adornments that can be correlated with a visual theme of seated anthropomorphs dispersed throughout the Amazon basin, probably a conventional representation of shamans.
DOI: 10.6084/m9.figshare.14327509
title: Revisiting alter egos: superimposed figures in Konduri iconography and its relationship with shamanism

description: Abstract The notion of alter ego has been used since the early twentieth century to describe a motif characterized by the superposition of one figure by another in pre-colonial iconographies of northern South America. This term also refers to its interpretation based on ethnographic analogy of Amerindian concepts. This paper presents a discussion of the supposed alter egos found in Konduri ceramic style (c. AD 1250-1650). Systematic analysis of thousands of fragments and some whole vessels allowed to identify three motifs with birds, heads of birds, or quadrupeds above the heads of anthropomorphic or zooanthropomorphic figures. Beyond the direct representation of certain relationships with souls or spirits, superposition are part of visual techniques and themes indexing body metamorphosis. From the colonial chronicles and hypotheses about vessels functions, its possible do suppose that these figures acted over observers, users and their contents in feasts and shamanic practices. These depictions display postures and adornments that can be correlated with a visual theme of seated anthropomorphs dispersed throughout the Amazon basin, probably a conventional representation of shamans.
DOI: 10.6084/m9.figshare.14327511
title: Landscape and archaeological ceramics in the Trombetas Basin: a discussion of Karaiwa and Wai Wai Archaeology

description: Abstract This article addresses the archaeological landscape of the Trombetas River basin (Pará, Brazil), from the points of view of traditional and indigenous archaeologies, based on views about archaeological sites, ancient villages, places with histories of the past, as well as archeological ceramics. This region is inhabited by several indigenous peoples, most of them of Karib origin, such as Wai Wai and Katxuyana. Both the ceramic objects, especially the Konduri zoomorphic appliqués, as well as the sites, with rock art and black earth, are related to ancient histories, whether of the indigenous people or of nature spirits. Traditional archaeology tends to deal with material culture from its formal and symbolic attributes, as well as its chronological reference, to reconstruct the ways of life of peoples of the past. For indigenous elders, when heard, they say that these objects and places, bring to the surface and to the present what has already been ‘forgotten’ and ‘buried’ in the past.
DOI: 10.6084/m9.figshare.14327511.v1
title: Landscape and archaeological ceramics in the Trombetas Basin: a discussion of Karaiwa and Wai Wai Archaeology

description: Abstract This article addresses the archaeological landscape of the Trombetas River basin (Pará, Brazil), from the points of view of traditional and indigenous archaeologies, based on views about archaeological sites, ancient villages, places with histories of the past, as well as archeological ceramics. This region is inhabited by several indigenous peoples, most of them of Karib origin, such as Wai Wai and Katxuyana. Both the ceramic objects, especially the Konduri zoomorphic appliqués, as well as the sites, with rock art and black earth, are related to ancient histories, whether of the indigenous people or of nature spirits. Traditional archaeology tends to deal with material culture from its formal and symbolic attributes, as well as its chronological reference, to reconstruct the ways of life of peoples of the past. For indigenous elders, when heard, they say that these objects and places, bring to the surface and to the present what has already been ‘forgotten’ and ‘buried’ in the past.
DOI: 10.18112/openneuro.ds003576.v1.0.0
title: Early Language Project
DOI: 10.6084/m9.figshare.14327512
title: Between naturalisms and metaphors: the iconic code in body painting at the funeral urns of the Napo phase

description: Abstract This article presents an iconographic study of the figurative motifs that are part of the pictorial decoration of the funerary urns of the Napo phase (1118-1480 AD) belonging to the Amazonian Polychrome Tradition (APT). It is proposed that these motifs are expressed through different levels of artistic execution, from stylized forms to reaching metaphorical and synecdochical abstractions responding to different processes of cognition. These images have been identified through the concept of iconic code, which, in turn, allows certain inferences about its ontological system. This system is herein described as based on an aesthetic of metaphorical and hybrid beings opposed to naturalistic figurations, in which the snake icon stands out. Similar forms of artistic representation are also found in Ecuadorian Amazonian societies of the present; therefore, an ethnoarchaeological perspective can grant certain interpretative guidelines for a re-significance of these Napo phase intrinsic pictorial figurations.
DOI: 10.5519/qd.6eivjpr5
title: Query on the Natural History Museum Data Portal (data.nhm.ac.uk) (6597 records)
DOI: 10.6084/m9.figshare.14327512.v1
title: Between naturalisms and metaphors: the iconic code in body painting at the funeral urns of the Napo phase

description: Abstract This article presents an iconographic study of the figurative motifs that are part of the pictorial decoration of the funerary urns of the Napo phase (1118-1480 AD) belonging to the Amazonian Polychrome Tradition (APT). It is proposed that these motifs are expressed through different levels of artistic execution, from stylized forms to reaching metaphorical and synecdochical abstractions responding to different processes of cognition. These images have been identified through the concept of iconic code, which, in turn, allows certain inferences about its ontological system. This system is herein described as based on an aesthetic of metaphorical and hybrid beings opposed to naturalistic figurations, in which the snake icon stands out. Similar forms of artistic representation are also found in Ecuadorian Amazonian societies of the present; therefore, an ethnoarchaeological perspective can grant certain interpretative guidelines for a re-significance of these Napo phase intrinsic pictorial figurations.
DOI: 10.6084/m9.figshare.14327514
title: On urns, places, beings and people: materiality and substances in the constitution of an Aristé funerary pit

description: Abstract In the last decade, a series of systematic archaeological excavations was carried out by the Instituto de Pesquisas Científicas e Tecnológicas do Estado do Amapá, resulting in very rich and diversified assemblages, which have been studied by many members of the research team. In this article, I propose to study a funerary structure which contains a collection of ceramics, including anthropomorphic urns from archaeological contexts which were carefully documented. From there, I seek to explore their agentive capacities, connecting their material properties, aesthetic aspects and contextual information. I follow a perspective drawn from Amazonian indigenous Ethnology, which highlights the potency of materiality in the relationships with different peoples, aiming at producing narratives which express the aesthetic care in their production in order to attract the eye and produce relations to whoever encounter them. Beyond their beauty, my aim is to explore ways in which pottery and other materials might point to a series of relationships which people who produced and used them were activating and using among people, places and other beings.
DOI: 10.6084/m9.figshare.14327514.v1
title: On urns, places, beings and people: materiality and substances in the constitution of an Aristé funerary pit

description: Abstract In the last decade, a series of systematic archaeological excavations was carried out by the Instituto de Pesquisas Científicas e Tecnológicas do Estado do Amapá, resulting in very rich and diversified assemblages, which have been studied by many members of the research team. In this article, I propose to study a funerary structure which contains a collection of ceramics, including anthropomorphic urns from archaeological contexts which were carefully documented. From there, I seek to explore their agentive capacities, connecting their material properties, aesthetic aspects and contextual information. I follow a perspective drawn from Amazonian indigenous Ethnology, which highlights the potency of materiality in the relationships with different peoples, aiming at producing narratives which express the aesthetic care in their production in order to attract the eye and produce relations to whoever encounter them. Beyond their beauty, my aim is to explore ways in which pottery and other materials might point to a series of relationships which people who produced and used them were activating and using among people, places and other beings.
DOI: 10.6084/m9.figshare.14327515.v1
title: From the Marajoara mound to the carnival parade: Agency and resistance of Amazonian archaeological artifacts

description: Abstract This article focuses on archaeological artifacts from Amazonia beyond their original contexts to introduce the concept of resistant objects based on the analysis of some of their agentive attributes. Considering the agency of Marajoara objects and images it seeks to understand which material and visual qualities allow them to be re-signified across times and cultures in diverse identity-building narratives. Among the elements identified as ‘technologies of enchantment’, we highlight the complexity of decorative fields and graphic motifs and the particular means of representing beings and their bodies as the technologies that were reutilized and adapted to occidental, historical, and contemporary contexts. We argue that such exercises are necessary as archaeological practice, as a tool to improve our understanding of the agency and resistance of certain archaeological objects, and as means to reclaim the protagonism of indigenous arts from the past that have been reappropriated through historical times in both colonial and decolonizing narratives.
DOI: 10.6084/m9.figshare.14327515
title: From the Marajoara mound to the carnival parade: Agency and resistance of Amazonian archaeological artifacts

description: Abstract This article focuses on archaeological artifacts from Amazonia beyond their original contexts to introduce the concept of resistant objects based on the analysis of some of their agentive attributes. Considering the agency of Marajoara objects and images it seeks to understand which material and visual qualities allow them to be re-signified across times and cultures in diverse identity-building narratives. Among the elements identified as ‘technologies of enchantment’, we highlight the complexity of decorative fields and graphic motifs and the particular means of representing beings and their bodies as the technologies that were reutilized and adapted to occidental, historical, and contemporary contexts. We argue that such exercises are necessary as archaeological practice, as a tool to improve our understanding of the agency and resistance of certain archaeological objects, and as means to reclaim the protagonism of indigenous arts from the past that have been reappropriated through historical times in both colonial and decolonizing narratives.
DOI: 10.6084/m9.figshare.14327518
title: Marajoara symbolism in body care

description: Abstract The symbolism of Marajoara archaeological ceramics was chosen as emblem of Brazilian national identity in the late nineteenth century in view of the Brazilian state’s political projects. Accordingly, the state used the first archaeological studies that were carried out at the National Museum of Rio de Janeiro to consolidate its choice for these objects as an emblem of this bold identity. Thus, since the science of the late 1800s, this symbolism was applied to art, architecture, fashion, banknotes, carnival, public and private space, until contemporary times. However, the use of this symbolism in body care is noteworthy, as in clothes, perfumes, accessories, among others, with the ‘Marajoara brand’. This article is about this process of re-signifying body care based on the use of ‘Marajoara’ objects.
DOI: 10.6084/m9.figshare.14327518.v1
title: Marajoara symbolism in body care

description: Abstract The symbolism of Marajoara archaeological ceramics was chosen as emblem of Brazilian national identity in the late nineteenth century in view of the Brazilian state’s political projects. Accordingly, the state used the first archaeological studies that were carried out at the National Museum of Rio de Janeiro to consolidate its choice for these objects as an emblem of this bold identity. Thus, since the science of the late 1800s, this symbolism was applied to art, architecture, fashion, banknotes, carnival, public and private space, until contemporary times. However, the use of this symbolism in body care is noteworthy, as in clothes, perfumes, accessories, among others, with the ‘Marajoara brand’. This article is about this process of re-signifying body care based on the use of ‘Marajoara’ objects.
DOI: 10.17632/82nbcxd2t2.1
title: Experimental setup of Air and Oil-Water dispersed Flow through a Horizontal Cylindrical Conduit

description: This data tells about a typical experimental setup for three phase flow through pipe
DOI: 10.17632/43bv5rb5n7.1
title: Perfusion culture of Chinese Hamster Ovary cells for bioprocessing applications: Supplementary Table

description: Data used to inform figures and trends in the paper entitled 'Perfusion culture of Chinese Hamster Ovary cells for bioprocessing applications'. In short, a collection of literature meta-data from 2000 to mid-2020 relating to the culture of Chinese Hamster Ovary cells in perfusion bioreactors.
DOI: 10.6084/m9.figshare.14327517
title: Frames of reference in Toba of Western Formosa (Guaicuruan, Argentina)

description: Abstract This paper analyzes, from a semantic typological perspective, the spatial subdomain of angular stasis or frames of reference in Toba of Western Formosa (Guaicuruan, Argentina). The corpus is composed of data obtained, through the visual stimulus ‘Men and Tree Photo Matching’ (Levinson et al., 1992), at Vaca Perdida (Formosa, Argentina). The frames of references found are absolute, object-centered, and direct. While absolute and object-centered frames of reference encode positional and orientational information, the direct one only expresses the orientation of the man from the deictic center. The absolute coordinate system, and the encoding of the orientation of the man are prominent in the corpus. The use of the same visual stimuli to study frames of reference among other languages of the South American Gran Chaco region will provide regionally comparable data and contribute to the knowledge of the structure of the spatial semantic domain.