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VYUŽÍVANIE JASKYNNÝCH PRIESTOROV V STARŠOM ENEOLITE NA PRÍKLADE JASKYNE CIGÁNKA II PRI RÁZTOČNE

100%
Horňák M., Kissová M., Barta P.
Študijné zvesti
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2020
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vol. 67
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issue 1
39 - 52
EN
The study deals with the analysis of pottery from the solitary finding from the cave Cigánka II near Ráztočno, localised in the mountain range Žiar in the western Slovakia. Ceramic material from this cave can be dated to the period of Ludanice Group of the Lengyel culture. The rests of carbonized food were localised in one of the vessels. It enabled examination of set of findings by scientific methods (radiocarbon dating, chemical analysis of lipids).
2
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Storytelling in VR, CAVES and other emerging forms: An interview with Roderick Coover by Katarzyna Boratyn

84%
Coover R., Boratyn K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
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vol. 21
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issue 30
EN
The following interview with Roderick Coover asks how emerging cinematic technologies transform documentary storytelling. Though his early ethnographic projects, such as Concealed Narratives (1996, filmed and photographed in Ghana) and the Harvest (1999, filmed and photographed in France), he created interactive documentary forms that could bridge modes of expression. The works combine field-notes, editing observations, exposition, travel narratives, encounters and interviews with evocative imagery. In works such as Voyage Into The Unknown (2007), Canyonlands (2009), and Estuary (2013). Coover uses scrolling map environments to offer interactive, cinematic experiences in which users create paths among video clips and data; the works explore spatial knowledge and storytelling, national myth-making and land use. In works such as Something That Happened Only Once (2007) and The Last Volcano (2011), he layers stories on animated panoramic settings to present disturbing disjunctions in the expression of place and memory. His recent collaborative works Three Rails Live (2013) and Toxicity: A Climate Change Narrative (2016) are algorithmic. They use code to combine voices and images from a database in an ever-changing order; the works use storytelling and new technologies to address the questions of climate change and industrial waste. In Hearts & Minds: The Interrogations Project, a VR work about US military torture in Iraq, he and his collaborators use immersive arts, storytelling and gaming technologies to introduce challenging accounts of human rights abuse.
3

OSÍDLENIE JASKYNE DZERAVÁ SKALA V OBDOBÍ EPILENGYELSKÉHO KULTÚRNEHO OKRUHU

84%
Farkaš Z.
Slovenská archeológia (Slovak Archaeology)
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2013
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vol. 61
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issue 1
21 – 91
EN
Approximately 26 m deep and 10 m high cavity of the Dzeravá skala cave, situated in Plavecký Mikuláš in the Low Carpathians´ Plavecký kras in western Slovakia, has ranked among significant Palaeolithic sites of thea central European importance already since the beginning of the 20th century. However, all of the archaeological explorations carried out so far have not brought any important knowledge concerning also the post-palaeological settlement, especially in the period of the late Lengyel culture. The north-eastern corner of the cave, irregularly modelled through erosion, as well as the cave corridor with sinter decoration intentionally closed already during the Eneolithic. The opening to the underground was laid over by a massive stone and partially also by a flat stone board. The outlet corridor itled originally to the surface on the bottom of the 1/C object, which was of an irregular shape, from three sides adapted to the curving of stone walls. From the west, the only side open to the cave, the pit was bounded three times by an edge bent almost to the right angle, bordered by three column pits and marked traces of burnt wood. From the filling mixed with a large amount of stones there were collected 1876 fragments of ceramics, 10 fragments of copper objects, an unfinished stone polished instrument, fragments of partially burnt or burnt animal bones, and 9 bone and horn instruments. The typological scale of pottery products is characteristic, first of all, for the Ludanice group (Lengyel IV boverlapping to Lengyel IVc), with marked influences from the circle of the Jordanów group, the Bisamberg-Oberpullendorf group, or the Balaton I-Lasinja culture. All metal objects were in a fragmentary state, often with marked traces after breaking or other violent division of the original wholes. Most of them may be classified as garrniture or parts of clothing. So far the only copper object belonging to work instruments or weapons is a flat blade with saddle-shaped bent back. The discovery situation and fund make it possible to assume a unique, perhaps “sacral” function resulting from a tradition of cult pit “thankful” or “bidding” presents for the “representatives of higher power”.
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