The audience is called to order by the flutings and shouts of a Norwegian folk singer who blesses the land its offerings.
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They have developed the following methods for this purpose. Their cornerstones include multiple examinations of the flutings under investigation, experimentation, and the initial and primarily setting aside of questions of meaning (as such assumptions can determine what investigators then see in the flutings). The physical data in the flutings themselves comprise what they seek: how the fluters constructed their flutings, how the flutings functioned with respect to one other and, if possible, how the flutings functioned for the fluters. Sharpe and Van Gelder use a specific terminology for their studies and call upon three analyses.
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Bednarik continues to publish sites that contain flutings, but current forward research into finger flutings is mainly being carried out by Kevin J. Sharpe and Leslie Van Gelder.Sharpe, K. & Van Gelder, L. 2006b. The study of finger flutings. Cambridge Archaeological Journal 16:3, 281-295.
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Placed on the stylobate are the vertical column shafts, tapering towards the top. They are normally made of several separately cut column drums. Depending on the architectural order, a different number of flutings are cut into the column shaft: Doric columns have 18 to 20 flutings, Ionic and Corinthian ones normally have 24. Early Ionic columns had up to 48 flutings.
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It forms the backbone of research into line markings such as flutings.
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Flutings at the start of the Desbordes Panel, Chamber A1, Rouffignac Cave, France. In prehistoric art, finger flutings are lines that fingers leave on a soft surface. Considered a form of cave painting, they occur in caves throughout southern Australia, New Guinea, and southwestern Europe, and were presumably made over a considerable time span including some or all of the Upper Paleolithic.Sharpe, K. & Van Gelder, L. 2006.
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This asymmetry increases from front to back. They are long and conical, and those from the ninth to twenty-ninth have flutings on the sides. From the thirtieth to the forty-ninth, they have no flutings but are crenulated and broaden antero-posteriorly. This suggests that these teeth were better for slicing prey than the previous tusks and conical teeth, which would have impaled and injured it.
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Page 412. Oxford University Press, 1993. Norton's 1914 volume of verse, Saloon Sonnets With Sunday Flutings, was published by Donald Evan's Claire Marie Press.MacGann, Jerome John.
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Leslie Van Gelder (born January 27, 1969) is an American archaeologist, writer, and educator whose primary work involves the study of Paleolithic Finger Flutings in Rouffignac Cave and Gargas Cave in Southern France. Working with her husband, the late archaeologist and theologian Kevin J. Sharpe, she spent 10 years developing methodologies to study finger flutings. Their work, building on the internal analysis concepts established by Alexander Marshack, was the first to be able to establish unique identities of cave artists through the study of individual hands and the application of 2D:4D finger studies. Their work on finger flutings was the first to show symbolic behavior by children in the Paleolithic through the creation of tectiforms in Rouffignac.
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Together with his second wife, Dr. Mary Catherine Lacombe, Kevin J. Sharpe wrote several articles on finger flutings, after doing research in the Rouffignac cave and in Australian caves. Dr. Lacombe, who had a PhD in writing along with experience in childhood education made the connection between these finger flutings and mnemonic devices that young children use. and .) Continuing with his third wife Leslie Van Gelder, Kevin J. Sharpe, pursued his interest in archaeology lectured extensively on early cave paintings and markings, in particular on finger flutings by men, women, and children in the Rouffignac cave.The Children’s Hour (downloaded 13 April 2012) They continued to interpret these as early mnemonic devices and a precursor to writing.
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Fluted pleats or "flutings" are very small, rounded or pressed pleats used as trimmings.Caulfield and Saward, The Dictionary of Needlework, p. 212 The name comes from their resemblance to a pan flute.
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Fjalori Enciklopedik Shqiptar, Akademia e Shkencave – Tiranē, 1984 (DAJTI, page 166 (in Albanian)) A vessel with flutings and the remains of a profiled loom are evidences of the introduced Roman culture in the site.
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The lack of thorough studies, let alone methods for doing them, means speculation as to the meaning of flutings runs unchecked, even by the most well-known experts on prehistoric art. They are seen, for example, as representing such things as the first scribbles by humans, though intuitive and random but serpentines (Breuil); water related (Marshack); entopic shapes or phosphenes (Bednarik); huts, comets, or rivers, or linear-phallic and male symbols in the statistical placement of signs within a cave (Leroi-Gourhan); snakes (and thereby associated with death) (Barrière); psycho-neurological archetypes (Gallus); hunting marks (Barrière); shamanic ritual (Lewis-Williams). The corpus of Paleolithic flutings is too complex to fit into a single meaning paradigm. Too much in prehistoric ‘art’ does not conform to what modern people might see as figures and symbols, flutings offering an example.
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Its columns, mostly still upright, stand on Attic bases without plinths, exceptional for the period. The 24 flutings of the columns are only indicated by facets in the lower third. Each of the Corinthian capitals is made of three separate parts, an exceptional form.
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In terms of the field methodology, having become familiar with a cluster, an Internal Analysis of it is carried out, specially noting the directions of the flutings and their overlays. This provides the differentiation of clusters and units, and the temporal sequence of the flutings. The analysis relates to Alexander Marshack’s question, asked especially for engraved line markings: What do the order, direction of and (especially for engravings) the tools for creation of the lines tell about the mind of the artifact creator when creating? Though Marshack pioneered this technique, it has been modified in its application by others such as Bednarik, Francesco d’Errico, and Michel Lorblanchet.
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A German Army G22 with fluted barrel In firearms terminology, fluting refers to the removal of material from a cylindrical surface, usually creating rounded grooves, for the purpose of reducing weight. This is most often done to the exterior surface of a rifle barrel, though it may also be applied to the cylinder of a revolver or the bolt of a bolt-action rifle. Most flutings on rifle barrels and revolver cylinders are straight, though helical flutings can be seen on rifle bolts and occasionally also rifle barrels. While the main purpose of fluting is just to reduce weight and improve portability, when adequately done it can retain the structural strength and rigidity and increase the overall specific strength.
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The study of finger flutings. Cambridge Archaeological Journal 16:3, 281-295. Most are not obvious figures or symbols but, rather, appear to many observers as enigmatic lines. They are also called tracés digitaux or finger tracings and (though these terms are also in part interpretative) meanders, macaroni, and serpentines.
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Their application of Zipf's LawSharpe, K. & Van Gelder, L. 2009. Paleolithic finger flutings as efficient communication: Applying Zipf’s Law to two panels in Rouffignac Cave, France. Semiotica 177, 171–190. from communications theory also gave the first replicable methodology for determining whether or not fluted panels represented purposeful communication or a proto form of writing.
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A double portico of 8 × 21 columns enclosed the naos, the back even had ten columns. The front used differing column distances, with a wider central opening. In proportion to the bottom diameter, the columns reached three times the height of a Doric counterpart. 40 flutings enriched the complex surface structure of the column shafts.
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Ehretia acuminata is a medium to large size tree, occasionally reaching 30 metres in height and a 90 cm in trunk diameter. The bark is of a creamy grey colour, with vertical fissures. Koda is often easily identified in winter as being deciduous and of the characteristic flutings at the base of the trunk.
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The term finger fluting was coined by Robert Bednarik. Generally they are made in a substance called moonmilk. Sometimes they are made through a thin clay film into moonmilk underneath or perhaps just into clay. As Henri Breuil has published, finger flutings have been recognized since the early days of the 20th century in Europe as Paleolithic.
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There is a notable pendant with eight ornamental flutings, more than . A cornice surrounds the room, except in the area of the fireplace and the carved partition. The partition's cornice, made of plaster, is ornamented with figures and mottoes. On the north wall are two figures—a man apparently giving a cloak to a poor man or monk.
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6, 1996, p. 78-83. The interior was structured with powerful pilasters, their rhythm reflecting that of the external peristasis. The columns, with 36 flutings, were executed as columnae caelatae with figural decoration, like those at Ephesos. Construction ceased around 500 BCE, but was restarted in 331 BCE and finally completed in the 2nd century BCE.
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The mesial view shows a slight tipping of the crown to the lingual. Both roots have flutings but they are more prominent on the mesial root. The mesial root is broader buccolingually and its apex is more blunted. The height of contour on the buccal is in the gingival third and the occlusal two thirds of the surface is flat.
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Kevin James Sharpe (23 January 1950 – 6 November 2008) was a mathematician, theologian, archaeologist, Anglican priest and professor at Union Institute & University. He is known for his publications on the relationship between religion and science, on the interpretation of quantum physics by David Bohm, as well as for his investigations with Leslie Van Gelder on finger flutings in the Rouffignac cave.
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Scottellia klaineana is a species of tree native to West and Central Africa. It usually grows to a height of about but can grow taller. It has a straight, cylindrical trunk up to in diameter, and may have flutings or buttresses at the base. The timber is used for construction, panelling, joinery, furniture- making, cabinet work, carpentry, flooring, stairs, turnery and veneers.
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The short spire is conical, rather pointed with the early whorls delicately sculptured, the last two rather rude. The aperture is longer than half the shell. The transverse sculpture in the earlier whorls (which are pure white) consists of rather crowded flutings depending transversely forward from the sutural margin for a third of the width of the (visible) whorl, which then swells outward, marked by strong growth lines, to a series of peripheral angular nodulations which mark the course of the anal fasciole. On the fourth, fifth, and sixth whorls, counting from the nucleus, the flutings are more regular and elegant than in the earlier or subsequent turns, on the fifth and sixth they, as well as the growth lines, are elegantly granulose or marked with small round nodes, the resultant of transverse and spiral sculpture.
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Samian column bases were decorated with a sequence of horizontal flutings, but in spite of this playfulness they weighed 1,500 kg a piece. The capitals of this structure were probably still entirely of wood, as was the entablature. Ionic volute capitals survive from the outer peristasis of the later rebuilding by Polycrates. The columns of the inner peristasis had leaf decoration and no volutes.
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B. laurentii is a fairly large evergreen tree, reaching a height of about and a diameter of . The trunk is cylindrical, without buttresses but sometimes with flutings near the base, and unbranched for the first . The outer bark is rough, yellowish-grey to dark grey, and peels away in large flakes. The inner bark is orange-red, thick and fibrous, darkening on exposure to the air.
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Suitilla or Suj Tilla West is a Himalayan peak located on the eastern side of Uttarakhand state in Pithoragarh District of India. The peak is located above the junction of Kalabaland, Sankalp and Yankchar glaciers. Ralam Dhura pass is situated to the south of this peak, which connects Ralam valley to Darma valley. This peak is characterised by steep ice-flutings and sharp ridges, so named as Peak of needles.
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Suj Tilla East is a Himalayan mountain peak in the eastern part of Uttarakhand state in Pithoragarh district of India. The peak is located above the junction of Kalabaland, Sankalp and Yankchar glaciers. Ralam Dhura pass is situated to the south of this peak, which connects Ralam valley to Darma valley. This peak is characterised by steep ice-flutings and sharp ridges, so named as 'Peak of needles'.
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He summited via a different route, which became known as "Shangri-La", later the same year. This was the first time Meru Central had been summited, by any route. In 2003, Americans Conrad Anker, Doug Chabot and Bruce Miller completed the bottom part of the wall, before veering off onto ice flutings, then eventually turning back. In 2004, a Japanese expedition failed after an accident injured one of the team members.
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The first temple dedicated to Athena was made of grey-shaded porous stone and was constructed in the 7th century BC. It was probably the earliest Doric temple, of which twelve columns have been preserved, along with the foundations and the crepidoma and stylobate. The columns were crowned by low capitals and bore shallow flutings. In the first half of the 6th century BC, this temple was destroyed, possibly by an earthquake.Demangel, G., Daux, G.,(1923), Le sanctuaire d'Athéna Pronaia, Fasc.
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At the retail level, on the College Street and Erwin sides, the facades are clad in smooth black granite with flutings. The pane glass was originally set in metal frames, but replaced with plate glass set in aluminum frames. The first floor interiors, including the lobby and the banking rooms, are mostly original, decorated in marble and limestone. The elevation is only symmetrical on its College Street side, where the facings are composed mostly of brick and offset by polished black granite.
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Constructed in a warm brick in English bond, it is a particularly attractive two storey residence featuring steeply pitched slate roofs, ornate brick chimneys, stained glass windows and Tudor influenced battening. The gable ends are of timber and stucco. The verandah features timber posts with ornamental brackets and the chimneys rising high above the high gabled roof are a dominant feature. Admission to the house is through a massive cedar panelled front door set into a sandstone arch with Gothic flutings.
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The shrub or tree typically grows to a height of and has few to many stems that have shallow or deep longitudinal flutings along their length. The grey to brown coloured bark is mostly smooth but can occasionally be fissured toward the base. The new shoots tend to be encrusted in resin and have a few red glandular hairlets while the resin ribbed branclets are hairy between the ribs. Like most species of Acacia it has phyllodes rather than true leaves.
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Investigators bring to their study and tie their methods to preconceived notions as to what is meaningful, what constitutes a pattern, and what they think is the origin of fluting making. No one now may ever know the meaning of the flutings and no one now should expect to know it. That need not stop people responsibly offering meaning or intentionality hypotheses, Sharpe and Van Gelder state. But all such hypotheses must subject themselves to the data uncovered by investigations using methods such as those above.
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The Cosmatesque style takes its name from the family of the Cosmati, which flourished in Rome during the twelfth and thirteenth centuries and practiced the art of mosaic. The Cosmati's work is peculiar in that it consists of glass mosaic in combination with marble. At times it is inlaid on the white marble architraves of doors, on the friezes of cloisters, the flutings of columns, and on sepulchral monuments. Again, it frames panels, of porphyry or other marbles, on pulpits, episcopal chairs, screens, etc.
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A fluter makes a fluting by sweeping their fingers across a soft surface; a unit comprises flutings drawn with one sweep of one hand or finger; the profile of a unit or a fluter comprises the silhouette of the finger tops left in the medium from the fluting; a cluster comprises an isolatable group of units that exhibit a unity, for instance because they overlay each other; and a panel comprises a collection of clusters that appears geographically or otherwise distant from other clusters or on a surface of reasonably uniform orientation.
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The columns had between 40 and 48 flutings, some of them cut to alternate between a wider and a narrower fluting. The oldest marble architraves of Greek architecture, found at the Artemision, also spanned the widest distances ever achieved in pure stone. The middle architrave block was 8.74 m long and weighed 24 metric tons; it had to be lifted to its final position, 20 m above ground, with a system of pulleys. Like its precedents, the temple used differentiated column widths in the front, and had a higher number of columns at the back.
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Underside of a groin vault showing the arris In architecture, an arris is the sharp edge formed by the intersection of two surfaces, such as the corner of a masonry unit; the edge of a timber in timber framing; the junction between two planes of plaster or any intersection of divergent architectural details. Also the raised edges which separate the flutings in a Doric column. The origin of the term arris is from the Latin arista meaning the beard of an ear of grain or the bone of a fish. See also arête.
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The bottom of the altar apse is trimmed by a graceful arcature topped with a band which is ornamented with an intricate geometrical pattern and garlands of alternating trefoils and spheres. The columns of the interior lining the sides of the apse and supporting the wall arch of the arched floor are covered with twisted flutings and fillets; a floral ornament of an ingenious design fills the middle of the lintels of the doors leading to annexes. The exterior decoration of the church is also rich. The graceful arcature with ornamented spandrels, engirdling the edifice, is topped with half-arches on the corners.
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Up to the twelfth century the windows of the Romanesque churches had small openings for light, a sloping intrados, and an inclined sill. Originally without decoration, they later received a framework, that is, they were surrounded by a border of slender shafts as by a frame. In the further development these round shafts received small bases and capitals, the intrados was divided into rectangular intervals in which small columns were set. Gothic art adopted this framework, merely changing the round arch into a pointed one, and later replacing the rectangular intervals of the intrados by flutings.
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Maximilan armour with grotesque mask. In the background are two other Maximilian suits of armour with sparrow-beaked and bellows-shaped visors. Photo taken in the Polish Army Museum. Maximilian armour is a modern term applied to the style of early 16th-century German plate armour associated with, and possibly first made for the Emperor Maximilian I. The armour is still white armour, made in plain steel, but it is decorated with many flutings that may also have played a role in deflecting the points and blades of assailants and increasing the structural strength of the plates.
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The peripheral nodulations also become more transverse and divided into three smaller nodules each, from the same cause; on the seventh and eighth whorls the lines of growth become more rude, the flutings and nodulation gradually vanish, and the sculpture is reduced to obscure spiral ridges, finer and more uniform on and behind the fasciole, and coarser, with a certain alternation of larger and smaller in size, before the fasciole. The last three and a half whorls take on a warm brownish tint, the fasciole being a still darker and somewhat livid madder brown. The later spiral ridges are also often somewhat darker than their interspaces. The aperture is narrow.
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Designed in 1937 in the Inter-war Art Deco style by architect Louis Leighton Robertson of Louis S. Robertson & Son, architects, and built by Lipscombe & Price, master builders of Bowral, the crematorium was praised as "dignified in classic lines, the design will be relieved by flutings of the columns and moulded panels". Robertson also designed crematoriums in a similar style at Woronora (1934), Kembla Grange (1955), and Beresfield (1936). The crematorium was officially opened on 8 May 1938, by the local Member of Parliament for Botany, Bob Heffron, who later served as Premier of New South Wales and was buried in the crematorium grounds on his death in 1978.
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Typical Boian culture pottery Boian pottery exhibited influences from the earlier cultures from which it arose: chequers and flutings from the Dudeşti culture, and small triangles bordering the lines it inherited from the Musical Note Linear culture. The pottery was polished after firing, and was decorated with carved or raised geometric designs, often with white clay used as an inlaid relief to offset the charcoal grey or black clay used in the rest of the work. In addition to the black/grey and white pottery, a few localized examples of red-inlaid clay decoration were found. Beginning in Phase III, they began to use graphite paint to decorate their pottery, a method probably borrowed from the south Balkan Marica culture.
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The fluted band on a plain surface is characteristic of his work. He is said to have introduced into American silver the ornamentation known as "gadrooning", curved flutings on the surface of silver. He held many public offices, and was a Member and Captain of the Ancient and Honorable Artillery Society in 1671 and Constable of Boston in 1675–76. He was appointed Freeman of Boston in 1680, a member of Capt Hutchinson's Company in 1684, a member of the Council of Safety against Andres in 1689, a Selectman of Boston 1691–92, Judge of the Court of Common Pleas for Suffolk County 1702–15, Treasurer of Suffolk County 1711–16, and was a member in full communion at the venerable First Church.
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A Sheraton style chair with rectangular back Sheraton is a late 18th-century neoclassical English furniture style, in vogue ca 1785 - 1820, that was coined by 19th century collectors and dealers to credit furniture designer Thomas Sheraton, born in Stockton-on-Tees, England in 1751 and whose books, "The Cabinet Dictionary" (1803) of engraved designs and the "Cabinet Maker's & Upholsterer's Drawing Book" (1791) of furniture patterns exemplify this style. The Sheraton style was inspired by the Louis XVI style and features round tapered legs, fluting and most notably contrasting veneer inlays. Sheraton style furniture takes lightweight rectilinear forms, using satinwood, mahogany and tulipwood, sycamore and rosewood for inlaid decorations, though painted finishes and brass fittings are also to be found. Swags, husks, flutings, festoons, and rams' heads are amongst the common motifs applied to pieces of this style.
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He later published the results of his studies as The Erechtheion at Athens: Fragments of Athenian Architecture and a few remains in Attica, Megara, and Epirus (1827). The Inwoods collaborated on two other Greek Revival churches in the parish of St Pancras: All Saints, Camden Town (1822–4), and St Peter's, Regent Square (1822–5, now demolished). They were also joint architects of St Mary's Chapel, Somers Town in the same parish, built in 1824–7 in a naive "Carpenter's Gothic" style. Inwood collaborated with E.N. Clifton on two churches: the Gothic St. Stephen, Canonbury (1837-9), and the Neoclassical St James Islington (1837-8) In 1834 he published a pamphlet entitled Of the Resources of Design in the Architecture of Greece, Egypt, and other Countries, obtained by the Studies of the Architects of those Countries from Nature, which suggested that the flutings of Doric columns were taken from reeds, mineral formations or seashells; that Egyptian mummies were wrapped in imitation of the cocoons of moths, and that the image of the sphinx was inspired by a butterfly chrysalis.
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