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This study investigates a historical event that occurred during the Indonesian Revolution as depicted in Indonesian historical films and argues that these films not only attempt to depict the past but also use the past as a means of social commentary, teaching moral insight, and historical reinforcement. The historical films selected are The Long March (Darah dan Do’a) (1950) and Mereka Kembali (1972). Both films deal with the Long March event experienced by the troops of the Siliwangi Division in 1948. These troops were previously assigned to infiltrate Yogyakarta and its surrounding areas. They were instructed to march back to their original base in West Java as a part of the military strategies to confront the Dutch during the Indonesian Revolution, also known as the Indonesian War of Independence. This event became known as the Long March of the Siliwangi Division. This study examines not only the representation of the past or the texts of the films but also the production process, which includes the motivations of the filmmakers and the public reception when the films were screened for the public at the time—in 1950 and 1972, respectively. This approach provides a broader and richer dimension, valuable insights into the behind-the-scenes process of making the selected historical films, and essential information about the public reception of the films. From the production point of view, there are two main reasons for making these historical films: personal reason and social engagement. Further, the military also plays a vital role in these historical film productions. From the historical representation aspect, these two films depict the events of the Long March of the Siliwangi Division as a journey full of various obstacles and difficulties, such as harsh terrain, lack of food, battles against the Dutch, and internal disputes with fellow Indonesians: Darul Islam. From the reception aspect, the audience’s point of view, these films provide several representations that meet their expectations about the Long March of the Siliwangi Division. However, the audience disagrees with some of the other representations. Finally, the study revealed that historical films are potential vehicles for telling, interpreting, entertaining, legitimating and preserving the past. In addition, this study has a vital implication for reopening the tradition of Indonesian film studies and reigniting attention to old films.
Public health authorities in Germany regard communication as a crucial part of infectious disease prevention and control strategies. Communication becomes even more important during public health crises such as pandemics. Drawing on Briggs and Hallin’s concept of biocommunicability, we analysed the German National Pandemic Plan and key informant interviews with public health experts, critical infrastructure providers and ambulance services. We examined the projected expectations towards the behaviour of the audiences and the projected ways of information circulation informing public health communication strategies during a pandemic. Participants shared the expectation that the population would react towards an influenza pandemic with panic and fear due to a lack of information or a sensationalist media coverage. They associated the information uptake of their target audience with trust in their expertise. While our informants from public health conceptualised trust in terms of a face-to-face interaction, they sought to gain trust through transparency in their respective institutional settings. Our analysis suggests that this moved health information into a political register where their medical authority was open to debate. In response to this, they perceived the field of communication as a struggle for hegemony.
The photogrammetric acquisition of 3D object models can be achieved by Structure from Motion (SfM) computation of photographs taken from multiple viewpoints. All-around 3D models of small artefacts with complex geometry can be difficult to acquire photogrammetrically and the precision of the acquired models can be diminished by the generic application of automated photogrammetric workflows. In this paper, we present two versions of a complete rotary photogrammetric system and an automated workflow for all-around, precise, reliable and low-cost acquisitions of large numbers of small artefacts, together with consideration of the visual quality of the model textures. The acquisition systems comprise a turntable and (i) a computer and digital camera or (ii) a smartphone designed to be ultra-low cost (less than $150). Experimental results are presented which demonstrate an acquisition precision of less than 40 μm using a 12.2 Megapixel digital camera and less than 80 μm using an 8 Megapixel smartphone. The novel contribution of this work centres on the design of an automated solution that achieves high-precision, photographically textured 3D acquisitions at a fraction of the cost of currently available systems. This could significantly benefit the digitisation efforts of collectors, curators and archaeologists as well as the wider population.
The artworks of the Peruvian artist Carlos Runcie Tanaka, who has his British and Japanese Roots combined in his surname, refer to pre-Columbian ceramics and traditional Peruvian, Japanese and European practices. He represented Peru in ARCOmadrid 2019, the 12th Havana Biennial, the XXVI Sao Paulo Biennial, the 49th Venice Biennale, and the I Bienal Iberoamericana de Lima. In August, we sat down to talk about music, the past, the present, and the future. We discussed how all references of time can be combined into one material.
By studying pre-Columbian ceramics, researchers have developed several interpretations about the lifestyle and cosmovision of the ancient Peruvian people. Many of the techniques and motifs included in these traditional practices are still being passed on to communities throughout the country today. This ancestral knowledge is a fundamental element of identity. Therefore, ceramic is a material that has made the generation of historical discourse and the preservation of cultural memory possible. At the same time, ceramics are connected to aspects of our daily life. As objects of daily use (such as mugs, plates and bowls) they contribute to the fulfillment of basic needs. They are also included in ritual and funerary practices. In conclusion, the use of ceramics can be understood not only in a practical sense, but in an artistic sense as well.
Archaeological evidence indicates that pig domestication had begun by ∼10,500 y before the present (BP) in the Near East, and mitochondrial DNA (mtDNA) suggests that pigs arrived in Europe alongside farmers ∼8,500 y BP. A few thousand years after the introduction of Near Eastern pigs into Europe, however, their characteristic mtDNA signature disappeared and was replaced by haplotypes associated with European wild boars. This turnover could be accounted for by substantial gene flow from local European wild boars, although it is also possible that European wild boars were domesticated independently without any genetic contribution from the Near East. To test these hypotheses, we obtained mtDNA sequences from 2,099 modern and ancient pig samples and 63 nuclear ancient genomes from Near Eastern and European pigs. Our analyses revealed that European domestic pigs dating from 7,100 to 6,000 y BP possessed both Near Eastern and European nuclear ancestry, while later pigs possessed no more than 4% Near Eastern ancestry, indicating that gene flow from European wild boars resulted in a near-complete disappearance of Near East ancestry. In addition, we demonstrate that a variant at a locus encoding black coat color likely originated in the Near East and persisted in European pigs. Altogether, our results indicate that while pigs were not independently domesticated in Europe, the vast majority of human-mediated selection over the past 5,000 y focused on the genomic fraction derived from the European wild boars, and not on the fraction that was selected by early Neolithic farmers over the first 2,500 y of the domestication process.