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This article focuses on the archaeological site known as Presa de la Luz (600 AD - 1000 AD), located in Jalisco, Mexico. The site is distinguished by the presence of a variety of graphic-rock manifestations (GRMs), both on the surface and beneath it. Human activities have been continuous and evident, resulting in significant alterations to the archaeological remains. This environment offers a rich setting for archaeological studies aimed at understanding the social and cultural dynamics of the region. While previous research has primarily focused on documentation and description, there has been little in-depth exploration into the interpretation of the use and functionality of these manifestations in the past. Therefore, the research objective was to analyze the GRMs at the site as indicators of spatial appropriation and to determine their use and functionality through a multidisciplinary methodology. This approach incorporated data from material records, natural elements, and chemical analyses. As a result, starch granules were identified in grinding stones and pocitos (which exhibit characteristics of permanence), particularly those of corn and beans. [ABSTRACT FROM AUTHOR]

Copyright of Anuario Colombiano de Historia Social y de la Cultura is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas, Departamento de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ESPOCH Congresses: The Ecuadorian Journal of S.T.E.A.M. is the property of Knowledge E DMCC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of INDIVISA: Boletín de Estudios e Investigación is the property of Centro Universitario La Salle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aura. Revista de Historia y Teoría del Arte is the property of Aura Revista de Historia y Teoria del Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article exposes a historical panoramic once the occupation phases have been verified and analyzed after the recent archaeological interventions (2009-2018). As a support of that study more than thirty radiocarbon datings have been added to the sectors presenting less alterations and with more constructive evidence. Nevertheless, it has been proved an origin of the use of this redoubt in the 5th century BC. This data allows the opening of a new perspective in the investigation of the north peninsular fortifications. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Punk originated in the 1980s due to a characteristic social, political and economic context, marked by unrest and hopelessness. This led the Basque youth of the eighties to recognise themselves with the punk identity and all that it entailed, such as, for example, anarchist ideology. This study asks whether audiovisual texts dedicated to punk have faithfully reflected what this music meant on a political, ideological, social and cultural level. For this purpose, an ideological analysis and a critical discourse analysis are applied to Kikol Grau's first trilogy on punk. [ABSTRACT FROM AUTHOR]

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Plurentes is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyzes the fragmentations in the Uruguayan cultural field in the last dictatorial regime (1973-1984) and during the beginning of the democratic transition (1985-1989). Understanding that in the democratic transition the emergence and configuration of a "youth counterculture" emerged and originated different cultural practices and expressions that marked the transition process in the city of Montevideo. This "counterculture" had the specific objective of opposing the left militant culture that confronted the dictatorial regime. Those expressions that come from the musical field stand out, among which we find Rock and Punk, emphasizing the centrality that the body and the corporalities acquired in that cultural resignification of the eighties. In this sense, emphasis will be placed on the importance that aesthetics gained in this period, as a countercultural expression. For this purpose, the resignification of urban spaces and alternative meeting places is analyzed which served to uncover corporality. Likewise, the analysis will show how this counterculture sought to change the notions of "the festive", surviving the police raids and the repression that continued during the transition and in the democratic consolidation. This article proposes to debate and analyze the idea that the democratic transition was generated as a "change in peace", in which, in addition to establishing a policy of impunity, Uruguayans had to abide the democratic process and the official optimism of restoration. These expressions emerge to question the dominant paradigm, confronting the entire political-party system and the cultural field that had been configured during the dictatorial period (1973-1985). [ABSTRACT FROM AUTHOR]

Copyright of Oceánide is the property of Spanish Society for the Study of Popular Culture (SELICUP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The millenary African culture and the illogical social forms of the beat counterculture gave a framework of authenticity, identity and rebellion to the greatest expression of popular music of the last century: rock music. The African culture had arrived in America in the slave ships, in the form of divine spirits that gave birth to the blues music at the end of the nineteenth century in the southern United States. A couple of decades after blues music, jazz appeared as a magnificent cultural expression accepted by all, and in the midtwentieth century appeared rock and roll. The Beat Generation of Kerouac, Ginsberg and Burroughs also influenced the countercultural movement of the time. The Beat culture (counterculture?) was a bridge between black music and rock and roll. These rebellious poets loved jazz and wrote against the establishment. There are links between this fifties counterculture and rock music in the youthful rebellion of the sixties. [ABSTRACT FROM AUTHOR]

This exhibition takes place in the «margins», in the thought and in the gloom of an event. That military dictatorship (1976-1983) that enveloped the argentine society, snatching the rights and justice of each citizen. However, music was there to fight, and it was there where rock manifests itself in search of liberation, rebellion and expression; externalizing the beginning of an emancipation. This section reflects on the influence that Charly García had in fighting censorship and repression through «art». A combination of sounds and letters that drove the social insertion of the defeated, to shed the dogmas, taking the flag of action. [ABSTRACT FROM AUTHOR]

Copyright of Bellas Artes is the property of Universidad de La Laguna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines the analysis of article 121 numeral 3 of the 1982 Sea Convention made by the Arbitral Tribunal in the Philippines case c. China, and what lessons can be learned to avoid or solve conflicts in a region that has a vast number of islands in its territory such as Latin America. [ABSTRACT FROM AUTHOR]

Rock falls are a type of instability that is frequent in rock slopes. The need for protection against these types of phenomena has led to the development of different solutions, including stabilization of slopes with the use of wire mesh with bolts or anchors. The manufacturers have developed manuals and design software for these meshes, however, these tools are for commercial purposes. Likewise, the general lack of knowledge about the design and implementation of these solutions, restricts the design and placement of systems to the manufacturers. The present work aims to establish the influence of the mechanical and geometrical properties of the mass of rock and mechanical of the meshes in the design of stabilization systems for slopes, for which a new design methodology is proposed. [ABSTRACT FROM AUTHOR]

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An exploration of the relationship between the cinematographic medium and three key names in the history of rock. The fist titles in the filmography of The Rolling Stones, linked to avant-garde filmmakers such as Jean-Luc Godard, Robert Frank or the Maysles brothers; the possibility of a cinema according to the precepts of punk and its application to one of the emblematic bands of the movement in England: The Clash; and the singularity that has characterized each one of the appearances in cinema of the Australian Nick Cave, as much in his slope of singer as in that of scriptwriter. The text contains excerpts from "Sueños eléctricos. 50 películas fundamentales de la cultura rock", which the author presented at the University of Cádiz, as part of the Rock Tutors Programme. [ABSTRACT FROM AUTHOR]

The seminar '300 kilometre radius', organised by the University of Cadiz as part of the Atalaya Project and the Rock Tutors programme, aimed to put an end to the inertia that has always surrounded Spanish musical journalism by scheduling six conferences ranging from a review of the history of rock from a feminist perspective to discovering modern urban music from neighbouring Morocco, as well as talks which showed how, as long as five centuries ago, black culture began to influence Andalusia. [ABSTRACT FROM AUTHOR]

Copyright of Ensayos. Historia y Teoría del Arte is the property of Instituto de Investigaciones Esteticas - Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The cultural meaning of music is produced by musicians, critics, musicologists, audience, and record industry. According to Pierre Bourdieu, this meaning is related to the symbolic value of music as a field where social fights take place to raise cultural capital. Specifically, the discourse on contemporary popular music, as shown in newspaper articles, is based upon some features that run counter to classical music: corporeality, emotion, and femininity. Thus the articles are full of metaphors on irrationality and energy. Although those values were once subversive -they actually resisted highbrow culture-, jazz or rock have been assimilated while at the same time other music styles such as dance or pop have been relegated because of their commerciality and unintelligence. [ABSTRACT FROM AUTHOR]

The north fringe of heavy crude represents the main source of Cuban hydrocarbons. Gas and oil seals of Cuban Northern Province are represented by a series of orogenic formations consisting mainly of terrigenous rocks with clay components. For seal quality evaluation of these formations, petrography and mineralogical characterization are essential. The primary sealing elements of Cuban northern province are clays, which are defined as the fundamental object of this research. They are distinguished by having a lower crystallinity than carbonates, effect that is caused by crystal imperfections: crystallite size, structural disorder and stress, while carbonates have a chemical composition that includes a smaller number of chemicals that showing clays. For this characterisation it was applied the infrared spectroscopy and x ray diffraction techniques. For this purpose samples were taken from clays and carbonate rocks of drill cores and geological outcrops. The application of these techniques allowed the determination of the composition of the rocks, characterized by the complex mixture of: illite, smectite, chlorite and hydromica (hydromuscovite) accompanied by their respective interlayereds. [ABSTRACT FROM AUTHOR]

The evangelical discourses and the genres dialogically configured by them modulate interactions with cultures and "secular" discourses, and set different modes of cultural production. In this article we refer to the conjugation of evangelical discourses with musical genres, analyzing the rock gospel musical production in a city of Northwest Argentina, through the case of a Christian rock band. We concentrate on the heavy metal that, as a genre of the evangelical gospel music, has an ambivalent manner of interrelation with his "secular" counterpart. We refer to the intervention of the band in the local rock circuit, which manifest its confluences and tensions with the "secular" rock public, symptomatic of the disputes over the legitimate meanings of "metal" music and the ambivalent position of the band in the cultural frontier between the evangelical field and the "secular" rock environment. [ABSTRACT FROM AUTHOR]

Copyright of Resonancias is the property of Pontificia Universidad Catolica de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to highlight some of the main features of the rock field in Quito (Ecuador) from two lines of discussion: first, the process of insertion and local translation of rock «global» practice. Secondly, the importance of the city (in terms of social and spatial «division») for differentiation processes within the rock field and the emergence of «underground rock». The information presented is part of a previous work for which primary data was collected between 2006 and 2009. The article is organized from critical discussion on field studies of youth cultures. [ABSTRACT FROM AUTHOR]

Copyright of Nomadas (01217550) is the property of Universidad Central and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Resonancias is the property of Pontificia Universidad Catolica de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective: To state how the rock music accompanies individual and cultural processes surrounding the construction of the person in personal and group dimension. Development: Review the musical forms that precede the rock such as blues, soul, gospel, rhythm and blues, showing the milestones of social transition that frame these creations. Conclusions: Rock music emerges in moments of individual and cultural transition. In terms of Winnicott, it is proposed as a key transitional space to allow the emergence of conflicting elements of youth. Sublimatory elements of this music creation are highlighted and how they recreate two key elements of adolescent development: reunion with the lost parent and the rediscovery of the maternal voice. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nomadas (01217550) is the property of Universidad Central and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the relationship between rock and roll music, culture, and collective memory in the second half of the 20th century through an examination of singer Paul McCartney's first concert appearance in Mexico, which took place in Mexico City in 1993. It focuses on rock and roll as performance and youth culture. It considers the cultural revolution of the 1960s as an era-defining phenomenon and the work of the rock and roll music band the Beatles as a clear example of the historic link between popular music, the media, and mass entertainment. It highlights the ritual and celebratory characteristics of events centered around rock and roll music and asserts that this music embodies the meaning of postmodernism like few other forms of artistic expression do.

The objective of this research was to show how young people construct representation of their identities through cultural consumption within an urban and global context. This research is based on qualitative case studies of rock bands in Maracaibo. The data was gathered and collected through observation and profound interview techniques. It concludes that juvenile identities are not constructed today upon political utopias but on feelings, where an affective character and the search for self-realization of the individual prevail. [ABSTRACT FROM AUTHOR]