AB95: The Philosophy Issue
Featured during this issue:
inventive Director: Pedro Inoue
Tzvetan Todorov on American torture
Darren Fleet discusses this generation’s “apocalypse”
We discover America’s position in Egypt’s darkish past
Pentti Linkola’s view on inhabitants control
Micah White demands revolution opposed to American decadence
Michael Löwy explores advertising’s have an effect on on our health
We ask: What issues in existence? What concerns in loss of life?
Read or Download Adbusters, Issue 95: The Philosophy Issue PDF
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Additional info for Adbusters, Issue 95: The Philosophy Issue
As a result of marriage contracts. 3), as well as imported painted vessels found in ceramic assemblages of Eastern Tripolye sites (Цвек 2003: 115–117). The most difficult task lies in identifying imported pottery and separating it from locally produced imitations. The difference is that imported items usually differ in a whole range of technological methods, while imitations only copy their external attributes, being manufactured according to local traditions. g. represented by the fluted pear-shaped vessel from Jura settlements.
Trichromatic painting was used in decors composed of consecutive or overlaying S-shaped helices (Fig. 34/3, 6, 9; 35/5, 7). Simpler compositions of scallops, ellipses, waves, circles, etc. are derived from the helical pattern (Fig. 33/7; 34/2, 5). Pattern of slanted ellipses divided by one or two slanted lines is almost exclusively found in bowls with incised decorations (Fig. 29/6–7, 9, 11); there is only one case of this decor being made in paints (Fig. 33/4). Simple patterns of vertical, horizontal, and slanted lines are arranged on smaller vessels or on necks and rims of larger ones.
V. Yet another group is formed by items with bichromatic painting; it only comprises one ‘binocular’ object and a truncated-cone-shaped bowl. These are typologically later articles that represent a continuation of development of vessels with fluted decorations painted with red and white paints. Thus, the structure of Druţa I assemblage reflects a coexistence of two interrelated traditions of ceramic ware manufacturing. One of them involves the use of relief decorations and the manufacturing of vessel bottoms based on flat cake-shaped preforms (the ‘flat-bottom’ tradition).