Maria Reiche's Line to Archaeoastronomy
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The Nazca Geoglyphs a Pictographic Creation Story
ARTICLE The Nazca Geoglyphs A Pictographic Creation Story BY DARREN IAMMARINO The Nazca Geoglyphs—popularly known as the tural anthropologist, both the engineer and the as- Nazca Lines—of southern Peru were first discovered tronomer may project Western biases and miss the in the 1920s and made public in the 1930s immedi- holistic picture. This is precisely what happened with ately became the subject of awe and controversy. The the Nazca Lines. more speculative theories as to the origin and pur- The first two people to provide a lengthy and de- pose of these enigmatic lines and biomorphic glyphs tailed account of the Nazca Lines were Paul Kosok have ranged from ancient alien runways to some and Maria Reiche. Maria Reiche has become some- form of sacred geometry. This article will not deal thing of a cultural icon as a champion for the living with these fringe explanations as no scientist takes descendants of the original Nazca. For this reason her them seriously. Instead it: (1) critically examines the theory based in archaeoastronomy has exerted a more recent and credible theories about the Nazca strong impact on later research, even though it is Geoglyphs, many of which revolve around the impor- lacking in scientific support. Kosok and Reiche tance of water, and (2) proffers a novel argument posited that the numerous lineal figures stretching about the purpose, function, and meaning of the bio- across the San Jose Pampa were used as a sort of star morphic figures, as well as the more complex geo- map or calendar.1 The idea likely came to Kosok on a metric shapes. -
KARAJAKIVET 03.Indd
03 December 2019 Mystery on the Desert Maria Reiche KÄRÄJÄKIVET edited by Márcia Nascimento . Nuno Costa Mystery on the Desert The secret of Pampa: the most important astronomical monument of the world Maria Reiche Maria Reiche Mystery on the Desert Käräjäkivet • 03 4 • 5 Synopsis Publication name: Essay number: “Käräjäkivet” is a periodical publication of thought and criticism that Käräjäkivet 03 was born from a wider project developed around a proposal which Directors, Coordinators Author: was never accomplished, concerning the Saivaara Monument, and Editors: Maria Reiche. elaborated in 1978 by the legendary Finnish artist Tapio Wirkkala. Márcia Nascimento Title: Website: Nuno Costa Mystery on the Desert. www.karajakivet.com “In 1975, the President Urho Kekkonen expressed as his wish that Edition: Original title: E-mail: his monument should be placed in northwestern Lapland, on the Márcia Nascimento · Nuno Mystery on the Desert. [email protected] Saivaara mountain. [...] Costa. Architects Date: Facebook: How to make a monument on a site that is naturally so beautiful Language: December 2019 @karajakivet that one cannot take away anything from it, neither is man able English Support: Instagram: to add anything to it? Tapio Wirkkala ended up with a proposal in ISSN: Jenny and Antti Wihuri @karajakivet which all the materials of the monument have been picked from 2184-5735 Foundation Address: the mountain itself. Language advisory and Rua Barjona de Freitas nº5, The monument consists of a straight, paved, almost imperceptible translations: 1º Esq, 4750-265 Barcelos, path crossing over the Saivaara mountain. Five stones will be Nuno Costa Portugal raised from the mountainside to the summit of the mountain, […]. -
Guía Práctica 'Nasca. Buscando Huellas En El Desierto'
NASCA BUSCANDO HUELLAS EN EL DESIERTO Guía Práctica R R Comparte este ebook: este Comparte R R R NASCA. Buscando huellas en el desierto Guía Práctica: NASCA. Buscando huellas en el desierto Contenido 01. ANTES DE VENIR 02. LA EXPOSICIÓN 03. VIDA Y VALLE 04. PAISAJE SAGRADO 05. CAHUACHI Y TUMBAS 06. MITOLOGÍA Y RITUAL 07. PIEZAS COMENTADAS 07.1. Fotografías del paisaje sagrado 07.2. Palo de maíz 07.3. Manto morado 07.4. Gran tambor ceremonial 07.5. Ser mítico antropomorfo 08. ACTIVIDADES 09. OTROS RECURSOS 1 R R NASCA. Buscando huellas en el desierto 01. ANTES DE VENIR Esta guía está dirigida a todas las personas interesadas en profundizar y conocer un poco más la exposición: NASCA. Buscando huellas en el desierto. Con este documento hemos planteado diversas cuestiones, seleccionado algunas piezas y proponemos actividades para poder realizar antes o después de tu visita, por lo que se convierte en una herramienta didáctica tanto para familias, jóvenes, docentes o público general. Antes de entrar en la exposición te invitamos a reflexionar acerca de las siguientes cuestiones y esperamos que, tras la visita, puedas completar esta información: • ¿Cuántas culturas prehispánicas de América conoces? • ¿De qué país es originaria la cultura Nasca? • ¿Alguna vez has oído hablar de las líneas de Nazca? ¿Sabes cómo se hicieron o para qué sirven? • ¿Cómo estudia la arqueología una civilización que no ha dejado ningún testimonio escrito? • ¿Qué podemos aprender nosotros de los nasca y su lucha por la supervivencia? 2 R R NASCA. Buscando huellas en el desierto 02. LA EXPOSICIÓN La exposición NASCA. -
3-D RECORDING and VISUALIZATION of the NASCA GEOGLYPHS A. Grün, S. Bär, S. Beutner Federal Institute of T
Beutner, Sabine SIGNALS IN THE SAND: 3-D RECORDING AND VISUALIZATION OF THE NASCA GEOGLYPHS A. Grün, S. Bär, S. Beutner Federal Institute of Technology, Zürich Institute of Photogrammetry and Remote Sensing CH - 8093 Zürich agruen@, sbaer@, [email protected] Working Group V/5 KEY WORDS: Archeology, DTM, 3-D vectors, Texture Mapping, Visualization ABSTRACT The geoglyphs of Nasca, Peru are considered one of the world’s major mysteries. Despite the fact that many efforts have been made in the past 70 years to record and analyze the geoglyphs no convincing explanation has emerged yet which would explain the purpose of these drawings in the sand beyond any doubt. Many hypotheses have been put forward and each author will find a certain number of lines and figures in support of his/her opinion. The huge number of lines, trape- zoids, star centers, biomorphical figures, etc. has up to now defied any comprehensive recording and analysis. We are currently conducting an ambitious project which aims at the complete 3-D recording of the geoglyphs of the areas of Nasca, Palpa and San Ignacio (a total of about 300 km2) with photogrammetric means. This is done in cooperation with a group of archeologists who will try to relate their excavation results to the geoglyphs in order to get a more com- plete picture of the overall cultural and social background of the Nasca people (200 B.C. - 600 A.D.). We are using the latest digital photogrammetric technology for the recording of the geoglyphs and some of the most advanced visualization software. -
Excerpt from the Publication PISCINA.Investigacion Y Practica Artistica. Maneras Y Ejercicios Editiones Lasia, Bilbao, Februar 2019, ISBN: 978-84-09-08084-7)
TWO OBSERVATION EXERCISES Rita Sixto (Excerpt from the publication PISCINA.Investigacion y practica artistica. Maneras y ejercicios Editiones laSia, Bilbao, Februar 2019, ISBN: 978-84-09-08084-7) I am moved to write by the fascination I feel for two photographs. By what they have in common: the representation of a figure up on a ladder, scanning the horizon, facing away from the viewer. But also by the desire to find out where they part ways, how they differ, and how deep that difference goes. As I am in search of something elemental, I write with the naïve intention of starting from the beginning; perhaps any research project, regardless of the field in which it is carried out, always begins – as this one does – with an observation exercise. Along the way, I would like to discover clues to addressing art practice as research. In any case, I allow myself to be carried along by the pleasure of talking about the two images; about each in its particularity. As though I were pulling on the end of a piece of yarn to untangle each; wanting to record each singular unfolding. With one end in each hand – one image on the left and one on the right – I unwind them side by side; like simultaneous rivers flowing in tandem. I allow them to look at each other across the gap, without interacting or straying from their course. Without mingling: one advancing always on the side of the evens, the other always on the odds. And although I know that the power lies precisely in the relationship that springs up between them, I allow each to find its own path, its measure, its end.