World Scholar's Cup 2024 - Booster
Pack
Jan Simek - ANSA professor from the University of Tennessee who, along with his
colleagues, published images of giant glyphs carved into the mud surface of a cave in
Alabama in the journal Antiquity. The glyphs depicted human forms and animals, and are
some of the largest known cave images found in North America. The forms may represent
spirits of the underworld, or other sacred creatures to the indigenous people of the area. One
glyph of a rattlesnake reaches 3 metres in length, and another one of a human figure is just
over 1.8 metres. Using carbon dating, the group dated an American bamboo torch residue
stuck into the wall, also in accord with certain pottery fragments found in the cave.
Antiquity - ANSA journal published by Professor Jan Simek of the University of Tennessee
and his colleagues that displays images of nearly 2,000-year-old mud cave carvings found in
19th Unnamed Cave, Alabama.
19th unnamed cave - ANSA cave in Alabama which houses large cave carved glyphs, which
were documented in Jan Simek's journal Antiquity. The glyphs were determined to be almost
2,000 years old. The glyphs appear to depict human forms and animals, and stretch (like
one of a rattlesnake) up to 3 metres long. Using photogrammetry, the team revealed these
drawings despite the cave's ceiling being only 60cm high, moving the point of view to 4
meters away instead.
Photogrammetry - ANSA technique often used in archaeology to record artifacts, buildings,
landscapes, and caves. It involves overlapping thousands of photographs taken from
different angles and combining them digitally.
Rock Art - ANSHuman made markings on stone. It has existed for at least 64,000 years,
though it is likely we know only of very few instances. This is due to thin engravings being
lost to erosion, caves crumbling, and pigments dulling and eventually vanishing. North
American instances found in the dark zones of caves were only discovered in 1979, more
than a century after its discovery in Europe, found in Northern Spain.
Maltravieso - ANSA cave in Estremadura, Spain that houses many drawings that were
difficult to date by Paul Pettitt, Alistair Pike, and their team. 70 years after the cave was
originally found and studied, they digitally found a hand stencil drawn onto the rocky surface
of the cave, which was obscured by built up calcium carbonate deposits.
Light engraving - ANSA cave painting technique commonly used during the Pleistocene era,
in which the image is only visible when light is shone at a certain oblique angle (the light is
often referred to as raking light). It makes finding cave drawings notoriously difficult for
researchers.
,Reflectance Transformation Imaging (RTI) - ANSA technique similar to photogrammetry in
which 3d models can be illuminated from any angle, which makes it much easier to detect
cave drawings, specifically ones using the technique of light engraving.
Pulsed terahertz imaging - ANSA very recently found technology that uses infra-red waves
to penetrate through layers of prehistoric wall plaster to reveal possible cave paintings
underneath, a technique developed from full body scanners in airport security systems,
which are used to see concealed weapons or contraband. This technique was first used in
Çatalhöyük, Turkey in 2011.
Lascaux Cave - ANSA cave in France that display over 600 cave paintings and a thousand
engravings. It was discovered in 1940 when a group of four teenagers were trying to rescue
their dog that fell down a hole, crawling into the cave revealed hundreds of prehistoric
animals painted across its walls and ceiling. It became an extremely popular tourist attraction
after WWII, but public access to the cave became closed in 1963 because the breath and
sweat of visitors created carbon dioxide and humidity that would damage the paintings. It
has no stalactites or stalagmites because there is a layer of clay in the soil that waterproofs
the cave, preserving the hundreds of paintings and engravings within. It is believed that the
many bulls and horses depicted in the engravings and paintings are not to show what was
eaten by those humans, which would have consisted of mammoths or reindeer, but to show
what their spiritual beliefs were. Something unknown about the paintings is how long it took
to complete, though
Lascaux IV - ANSA replica created in 2017 when the French government spent $64 million
dollars building a near perfect replica to recreate the original Lascaux cave, which was not
open to tourists due to the damage it causes to the paintings. It is very precise due to the 3d
digital scanning of the actual cave, and made with polysterine, resin, and fibreglass. The
replica tries to recreate the original as best as possible, including playing sounds of the
surrounding forest played on speakers. It involves the traveller to go from outside to inside
and back to outside. The replica also features the hole that the boys fell down, something
that was blocked off in the original due to over heating from tourists. It has interactive tablets
in its exhibits to give visitors more information about the many displays.
Dina Casson - ANSA member of the team that worked on the Lascaux IV's design.
Sequencing (of a museum) - ANSThe order that a visitor of a museum travels through its
displays. It is very important to designers who want to create an authentic experience in
open-air museums.
Jean-Pierre Chadelle - ANSAn archaeologist who commends the advanced techniques used
by early humans to create the many engravings and paintings in the Lascaux Cave. He used
to give tours to the original cave.
Guillaume Colombo - ANSDirector of the museum complex at Lascaux.
The Hall of Bulls - ANSThe first big room of the replica of the Lascaux cave.
, Thorsen Kjetilis - ANSOne of the architects of the Lascaux IV museum, which he believes is
a link between the past and present, being a contemporary building cut into the landscape
and out of the landscape.
Francis Ringenbach - ANSLed the team of 34 artists to copied the paintings of the original
Lascaux cave onto the replica in the Lascaux IV museum complex. He tells that often the
animals depicted were placed intentionally in a part which was easier to carve, such as
replacing the eye of a bison with a natural cavity instead of carving it.
Mono-ha - ANSA Japanese art group that is known for juxtaposing natural and industrial
materials. It literally translates to "the School of Things". The group gained more recognition
following its emergence in the late 1960s. Despite never forming a formal association, artists
of this movement were joined by a shared commitment to a refusal of "making", or what Lee
Ufan explains as a desire to present the world as it is, without undue interference on the part
of the artist or from the viewers' expectations concerning the artist's capacity for creation.
Mika Yoshitake - ANSAssistant curator at the Hirschhorn Museum and Sculpture Garden in
Washington DC, he organized the Requiem for the Sun
Requiem for the Sun - ANSAn exhibition in 2012 organized by Mika Yoshitake that is the first
substantial offering of Mono-ha works in the US, and housed a sample of some of the
group's most celebrated works, including Phase-Mother Earth by Nobuo Sekine. It was
installed in a manner that is best described as conscientious, though it notably lacked the
tension between spontaneity and control, which was a sense of compromise in early
Mono-ha works. It also treated Mono-ha's styles as comtemporary instead of being a stark
contrast to other objects considered art like during its emergence.
Phase—Mother Earth - ANSA piece by Nobuo Sekina in 1968 cited as the trigger for the
formation of the Mono-ha movement in Kobe. It depicts a cylindrical 2.7-metre deep
2.2-metre in diameter hole dug into the ground and a nearby concrete powder and dirt
structure of the same shape and size. It was created with intention linked to the Oriental
philosophy that the amount of mother earth does not change even if it is uneven. It was
planned as an experiment of thought, in which an "inverted earth" or anti-earth would form.
Lee Ufan - ANSOne of the most prolific members of the Mono-ha group who famously
explained the group's shared desire to present the world as it is, without undue interference
on the part of the artist or from viewers' expectations concerning the artist's capacity for
creation; he wished that each work was displayed with autonomy and dependence of each
object in relation to the others. He created the works Relatum (formerly Phenomena and
Perception B) (1969/2012), and Relatum (1975/2012)
Nobuo Sekine - ANSCreated the Mono-ha piece Phase—Mother Earth in 1968 which is
often touted as the trigger for the beginning of the Japanese art movement. He completed
the Graduate Program at Tama Art University, and created works specifically challenging the
relation between the visual sensation and cognition of artworks.
Pack
Jan Simek - ANSA professor from the University of Tennessee who, along with his
colleagues, published images of giant glyphs carved into the mud surface of a cave in
Alabama in the journal Antiquity. The glyphs depicted human forms and animals, and are
some of the largest known cave images found in North America. The forms may represent
spirits of the underworld, or other sacred creatures to the indigenous people of the area. One
glyph of a rattlesnake reaches 3 metres in length, and another one of a human figure is just
over 1.8 metres. Using carbon dating, the group dated an American bamboo torch residue
stuck into the wall, also in accord with certain pottery fragments found in the cave.
Antiquity - ANSA journal published by Professor Jan Simek of the University of Tennessee
and his colleagues that displays images of nearly 2,000-year-old mud cave carvings found in
19th Unnamed Cave, Alabama.
19th unnamed cave - ANSA cave in Alabama which houses large cave carved glyphs, which
were documented in Jan Simek's journal Antiquity. The glyphs were determined to be almost
2,000 years old. The glyphs appear to depict human forms and animals, and stretch (like
one of a rattlesnake) up to 3 metres long. Using photogrammetry, the team revealed these
drawings despite the cave's ceiling being only 60cm high, moving the point of view to 4
meters away instead.
Photogrammetry - ANSA technique often used in archaeology to record artifacts, buildings,
landscapes, and caves. It involves overlapping thousands of photographs taken from
different angles and combining them digitally.
Rock Art - ANSHuman made markings on stone. It has existed for at least 64,000 years,
though it is likely we know only of very few instances. This is due to thin engravings being
lost to erosion, caves crumbling, and pigments dulling and eventually vanishing. North
American instances found in the dark zones of caves were only discovered in 1979, more
than a century after its discovery in Europe, found in Northern Spain.
Maltravieso - ANSA cave in Estremadura, Spain that houses many drawings that were
difficult to date by Paul Pettitt, Alistair Pike, and their team. 70 years after the cave was
originally found and studied, they digitally found a hand stencil drawn onto the rocky surface
of the cave, which was obscured by built up calcium carbonate deposits.
Light engraving - ANSA cave painting technique commonly used during the Pleistocene era,
in which the image is only visible when light is shone at a certain oblique angle (the light is
often referred to as raking light). It makes finding cave drawings notoriously difficult for
researchers.
,Reflectance Transformation Imaging (RTI) - ANSA technique similar to photogrammetry in
which 3d models can be illuminated from any angle, which makes it much easier to detect
cave drawings, specifically ones using the technique of light engraving.
Pulsed terahertz imaging - ANSA very recently found technology that uses infra-red waves
to penetrate through layers of prehistoric wall plaster to reveal possible cave paintings
underneath, a technique developed from full body scanners in airport security systems,
which are used to see concealed weapons or contraband. This technique was first used in
Çatalhöyük, Turkey in 2011.
Lascaux Cave - ANSA cave in France that display over 600 cave paintings and a thousand
engravings. It was discovered in 1940 when a group of four teenagers were trying to rescue
their dog that fell down a hole, crawling into the cave revealed hundreds of prehistoric
animals painted across its walls and ceiling. It became an extremely popular tourist attraction
after WWII, but public access to the cave became closed in 1963 because the breath and
sweat of visitors created carbon dioxide and humidity that would damage the paintings. It
has no stalactites or stalagmites because there is a layer of clay in the soil that waterproofs
the cave, preserving the hundreds of paintings and engravings within. It is believed that the
many bulls and horses depicted in the engravings and paintings are not to show what was
eaten by those humans, which would have consisted of mammoths or reindeer, but to show
what their spiritual beliefs were. Something unknown about the paintings is how long it took
to complete, though
Lascaux IV - ANSA replica created in 2017 when the French government spent $64 million
dollars building a near perfect replica to recreate the original Lascaux cave, which was not
open to tourists due to the damage it causes to the paintings. It is very precise due to the 3d
digital scanning of the actual cave, and made with polysterine, resin, and fibreglass. The
replica tries to recreate the original as best as possible, including playing sounds of the
surrounding forest played on speakers. It involves the traveller to go from outside to inside
and back to outside. The replica also features the hole that the boys fell down, something
that was blocked off in the original due to over heating from tourists. It has interactive tablets
in its exhibits to give visitors more information about the many displays.
Dina Casson - ANSA member of the team that worked on the Lascaux IV's design.
Sequencing (of a museum) - ANSThe order that a visitor of a museum travels through its
displays. It is very important to designers who want to create an authentic experience in
open-air museums.
Jean-Pierre Chadelle - ANSAn archaeologist who commends the advanced techniques used
by early humans to create the many engravings and paintings in the Lascaux Cave. He used
to give tours to the original cave.
Guillaume Colombo - ANSDirector of the museum complex at Lascaux.
The Hall of Bulls - ANSThe first big room of the replica of the Lascaux cave.
, Thorsen Kjetilis - ANSOne of the architects of the Lascaux IV museum, which he believes is
a link between the past and present, being a contemporary building cut into the landscape
and out of the landscape.
Francis Ringenbach - ANSLed the team of 34 artists to copied the paintings of the original
Lascaux cave onto the replica in the Lascaux IV museum complex. He tells that often the
animals depicted were placed intentionally in a part which was easier to carve, such as
replacing the eye of a bison with a natural cavity instead of carving it.
Mono-ha - ANSA Japanese art group that is known for juxtaposing natural and industrial
materials. It literally translates to "the School of Things". The group gained more recognition
following its emergence in the late 1960s. Despite never forming a formal association, artists
of this movement were joined by a shared commitment to a refusal of "making", or what Lee
Ufan explains as a desire to present the world as it is, without undue interference on the part
of the artist or from the viewers' expectations concerning the artist's capacity for creation.
Mika Yoshitake - ANSAssistant curator at the Hirschhorn Museum and Sculpture Garden in
Washington DC, he organized the Requiem for the Sun
Requiem for the Sun - ANSAn exhibition in 2012 organized by Mika Yoshitake that is the first
substantial offering of Mono-ha works in the US, and housed a sample of some of the
group's most celebrated works, including Phase-Mother Earth by Nobuo Sekine. It was
installed in a manner that is best described as conscientious, though it notably lacked the
tension between spontaneity and control, which was a sense of compromise in early
Mono-ha works. It also treated Mono-ha's styles as comtemporary instead of being a stark
contrast to other objects considered art like during its emergence.
Phase—Mother Earth - ANSA piece by Nobuo Sekina in 1968 cited as the trigger for the
formation of the Mono-ha movement in Kobe. It depicts a cylindrical 2.7-metre deep
2.2-metre in diameter hole dug into the ground and a nearby concrete powder and dirt
structure of the same shape and size. It was created with intention linked to the Oriental
philosophy that the amount of mother earth does not change even if it is uneven. It was
planned as an experiment of thought, in which an "inverted earth" or anti-earth would form.
Lee Ufan - ANSOne of the most prolific members of the Mono-ha group who famously
explained the group's shared desire to present the world as it is, without undue interference
on the part of the artist or from viewers' expectations concerning the artist's capacity for
creation; he wished that each work was displayed with autonomy and dependence of each
object in relation to the others. He created the works Relatum (formerly Phenomena and
Perception B) (1969/2012), and Relatum (1975/2012)
Nobuo Sekine - ANSCreated the Mono-ha piece Phase—Mother Earth in 1968 which is
often touted as the trigger for the beginning of the Japanese art movement. He completed
the Graduate Program at Tama Art University, and created works specifically challenging the
relation between the visual sensation and cognition of artworks.
