This chapter reexamines ceramic production, and other possibly specialized activities, at Conchopata, a recently excavated Middle Horizon urban center in the Ayacucho Valley. Drawing on the exhaustive GIS database compiled by the Conchopata Project, we employ normalized choropleth maps and localized spatial autocorrelation statistics to examine the distributions of four categories of ceramic production implements — ceramic molds, polishers, scrapers, and pulidores — and contrast them with the distributions of artifacts related to lithic manufacturing. We find high concentrations of artifacts suggestive of both types of production to coincide with each other and to correlate with high concentrations of other kinds of materials, such as botanical remains and animal bones. Consequently, areas of the site with high densities of ceramic manufacturing tools are unlikely tohave been ceramic workshops, but more plausibly trash concentrations containing all manner of remains in high densities. Indiscriminate dumping of refuse stemming from various craft production activities as well as domestic waste is indicative of non-specialized discard behavior and, by inference, of non-specialized, domestic production. The fancy ceramics whose spread across much of the Central Andes constitutes the defining feature of the Middle Horizon do not appear to have been manufactured in a V. Gordon Childe-style urban setting associated with spatially differentiated and class-structured economic interdependency. It is unlikely that they imply the spread of this kind of urbanism during the Middle Horizon, and new, Andean models of Wari political organization, craft production, and interregional interaction must be explored by archaeologists. / El presente capítulo reexamina la producción de cerámica y otras actividades, posiblemente especializadas, en Conchopata,un centro urbano recientemente excavado del Horizonte Medio en el valle de Ayacucho. Empleando la exhaustiva base de datos SIG recopilada por el Proyecto Arqueológico Conchopata examinamos mapas normalizados de coropletas y coeficientes de autocorrelación espacial local para entender las distribuciones de cuatro categorías de implementos de producción alfarera—moldes cerámicos, alisadores, pulidores y raspadores— y las contrastamos con las de vestigios de talla lítica. Encontramos que las altas concentraciones de artefactos relacionados a manufactura cerámica y talla lítica coinciden en el espacio y también están correlacionadas con altas concentraciones de otros materiales, tales como restos botánicos y huesos de animales. Por lo tanto, las áreas del sitio con altas densidades de implementos alfareros probablemente no fueron talleres cerámicos sino concentraciones de basura con altas densidades de desechos de todo tipo. La descarga indiscriminada de desechos de diversas actividades productivas, incluyendo basura doméstica, indirectamente indica una conducta no especializada de eliminación de basura y por inferencia, de actividades de producción no especializadas. La cerámica elaborada, cuya distribución a través de gran parte de los Andes centrales constituye el rasgo definidor del Horizonte Medio, no parece haberse manufacturado dentro del tipo de contexto urbano visualizado por V. Gordon Childe, asociado con interdependencia socio económica de poblaciones económicamente especializadas y divididas en clases sociales. Es improbable que implique la propagación de este tipo de urbanismo durante el Horizonte Medio. Los estudiosos de este periodo deben explorar nuevos modelos alternativos andinos de la organización política, la producción artesanal y la interacción interregional.

O rápido desenvolvimento das tecnologias de impressão tridimensional permite que uma crescente variedade de formas e materiais sejam criados e materializados. Disponibiliza abertamente um método produtivo com a capacidade de desenvolver peças de alta complexidade a um custo mínimo, uma situação sem precedentes na história da humanidade. Paralelamente, o avanço predatório dos bens industrializados dentro do mercado ameaça e potencializa as produções artesanais, as quais enfrentam um constante desafio no relativo à sua supervivência, transmissão e desenvolvimento. O presente teve como objetivo explorar as possibilidades da manufatura aditiva como uma ferramenta para potencializar a qualidade das produções artesanais através da gestão do design, e a construção conjunta da mesma como uma tecnologia social. Trabalhou-se de forma intensiva num entorno de laboratório, visando desenvolver metodologias que contribuíssem às articulações entre o fazer artesanal-digital, a serem implementadas em ações futuras. Desta forma, as tecnologias de impressão 3D serão capazes de gerar não só melhorias morfológicas e estéticas nos acessórios artesanais, mas, principalmente, de estimular as economias regionais, contribuindo para melhorar a situação das comunidades artesanais marginalizadas / The rapid development of 3d printing technologies is allowing an ever increasing universe of shapes and materials to be printed, as well as making complex productive methods more accessible to the vast majority, a situation never seen before in the history of mankind. Parallel to this situation, the predatory advance of industrial made goods in the market has both menaced and given force to artisanal productions. The present research project aims to explore the possibilities of additive manufacturing as a tool to boost artisanal production via design management and the joint construction of 3d printing as a social technology. The project is based on an intensive amount of laboratorial work, with the objective of developing methodologies for artisanal-digital hybridation to be used on future applications. This would render 3d printing technologies the capability of providing greater responses in terms of morphological and aesthetical artisanal accessories, while addressing the most basic human needs and helping to improve the situation of marginal artisan communities

[pt] A presente dissertação trata do design como estratégia de inovação social, através do entendimento do uso de suas metodologias para o desenvolvimento de tecnologias sociais. Investiga como metodologias de design, usadas na prática de projetos/ grupos produtivos/ empreendimentos solidários com produção artesanal se tornam tecnologias sociais, e podem ser reaplicadas. Para tanto, foram realizadas revisões bibliográfica sobre conceitos de inovação social, tecnologia apropriada, prática colaborativa, tecnologia social, sustentabilidade e codesign, dentre outros; um levantamento dos princípios e parâmetros de formação de tecnologias sociais; um estudo de casos múltiplos com análise de quatro grupos que trabalham a relação do design com o artesanato, incluindo como instrumentos de pesquisa questionário online e entrevistas, mapeamento de iniciativas, análise dos dados com cruzamento de informações. Uma discussão acerca dos modelos metodológicos adotados pelas iniciativas dos quatro grupos se segue, e quadros comparativos são elaborados no intuito de dar visibilidade aos achados da pesquisa. O estudo verificou que no processo de inovação social o design contribui com suas metodologias, dentre outras coisas, para a geração de tecnologias sociais visando uma melhor qualidade de vida das pessoas, desenvolvimento local e transformação social. / [en] The present dissertation deals with design as a strategy of social innovation, through the understanding of the use of its methodologies for the development of social technologies. It investigates how design methodologies, used in the practice of projects / productive groups / solidary enterprises with handcraft production become social technologies, and can be reapplied. For that, a bibliographic review was carried out on concepts such as social innovation, appropriate technology, collaborative practice, social technology, sustainability and codesign, among others; a survey of principles and parameters of social technology formation was done; and a multiple case studies was conducted, with analysis of four groups working the relationship between design and the handcraft, including research instruments as online questionnaire and interviews, mapping initiatives, and data analysis with cross-information. Then a discussion about the methodological models adopted by the initiatives of the four studied groups follows, and comparative tables are elaborated in order to give visibility to the findings of the research. The study found that in the process of social innovation, design contributes with its methodologies, among other things, to the generation of social technologies aimed at a better quality of life for people, local development and social transformation.

This study assesses the organization and intensity of hide processing from sequential occupations at the Late Fort Ancient (A.D. 1400-1680) Hardin Site located in the central Ohio Valley. Historical and archaeological sources were drawn on to develop expectations for production intensification: 1) an increase in production tool quantity, 2) an increase in production debris quantity, and 3) an increase in tool utilization intensity. Many Native groups situated on the periphery of early European colonies intensified hide production to meet demand generated by an emerging global trade in hides. As this economic activity intensified in the 16th and 17th centuries it incorporated and ever greater network of native communities. By documenting production intensification at the Hardin Site, this study evaluates the degree to which global markets incorporated regions beyond the colonial periphery before A.D. 1680. This study also examines the social dimensions of economic activity by asking who processed hides, who may have benefited from the products of this labor, and whether or not either of these were influenced by participation in the tumultuous interaction sphere of the eastern North American Contact Period.

La céramique du « Lucanien récent » - désignant la céramique à figures rouges produite en Lucanie à partir des années 360-340 av. J.-C jusqu'à ce qu' A.D. Trendall appelle la «barbarisation» du style, vraisemblablement dans les dernières décennies du IVe siècle av. J .-C. -, n'a fait l'objet d'aucune étude approfondie depuis la classification stylistique proposée par le savant néo-zélandais en 1967. Les zones d'ombres persistantes quant à la localisation et l'articulation de ces ateliers de production, que la seule orientation stylistique ne permet pas d'éclairer, et le grand nombre de vases exhumés récemment en Basilicate et dans la région des Pouilles, nécessitaient la mise en œuvre d'une nouvelle étude. Ce travail de recherche, mené à partir du corpus stylistique initial attribué au Peintre du Primato, dresse un état des lieux et en propose une nouvelle lecture basée sur la pluridisciplinarité des approches, de l'archéologie contextuelle à l'archéologie de la production. Le matériel est envisagé dans ses aspects formel, iconographique, stylistique et technologique, et interprété à la lumière de nouveaux contextes comme réponse à la demande d'une clientèle indigène : de Basilicate. La prise en considération de réalités productives contemporaines, celle du Peintre de Naples 1959 et de ses collaborateurs autour desquels semble s'articuler la fin de la production lucanienne, et celle du Peintre de Lycurgue, peintre apulien avec lequel il a entretenu des liens privilégiés, contribuent à mettre en évidence la spécificité de son langage autant que les réseaux de contacts et d'influences accompagnant la création d'une culture d'atelier. / Since 1967 and New Zealander's A.D. Trendall 's stylistic classification of Late Lucanian vases -designating South-italian red-figure vases produced in Lucania around the second half of the 4th century B.C. until its so-called «barbarization» presumably occuring in the last decades of that same century -this field of research has not expanded. To overcome persistent shadows regarding the location and articulation of these workshops' production and in the face of numerous recent archeological finds in Basilicata and Puglia, this research offers a new awaited methodological study. Multidisciplinary, it encompasses the initial stylistic corpus, an updated inventory, and new approaches informed by contextual archeology and archeology of production. Focusing on late Lucanian vases attributed to the Primato Painter and his colleagues, considered in their formal, iconographic, stylistic, and technological aspects, the scope interprets the established new contexts while responding to a local demand, from italic people of ancient Lucania. The analysis of contemporary productions both Lucanian, with the Painter of Naples 1959 and his followers in an era of decline of Lucanian wares, and Apulian, with the Lycurgus painter from whom the Primato sourced his main inspiration, contributes to highlight the specificities of his “language”, as well as his networks of contacts and influences that accompanied the emerging of a workshop culture.

La civilisation de l’Indus marque les esprits par une apparente uniformité de la culture matérielle sur la totalité de son territoire (environ 1 million de km carré) durant sa période d’apogée (2600-1900 av. J.-C.). Cette étude cherche à tester deux hypothèses qui pourraient expliquer cette homogénéité : 1) Un pouvoir centralisateur contrôlant la production artisanale; et 2) Un vaste réseau d’échanges et de distribution de la production. Dans ce but, la grande majorité des publications accessibles portant sur la production artisanale d’objets en céramique, en pierres semi-précieuses, en coquillage et en métal ont été inventoriées et analysées. Axée sur la spécialisation du travail artisanal, l’étude a identifié quelques objets dits de prestige (perles classiques harappéennes, bracelets en grès cérame) très probablement liés à une élite. La nature de cette élite est ensuite examinée et un nouveau modèle d’organisation sociopolitique de cette civilisation est proposé. / The Indus civilization puzzles archaeologists in that it shows a seeming uniformity in its material culture during the period from 2600 to 1900 BC and over its huge geographical extent (approximately 1 million square km). In this study two hypotheses are tested: 1) This uniformity in material culture is due to a central political force monitoring craft production; or 2) This uniformity results from an extensive trade and distribution network of craft production. In order to assess these, all available data concerning the craft production of ceramic, lapidary, shell-working and metal artefacts were inventoried and analyzed. A study of craft specialization identified a few wealth items (long carnelian beads, stoneware bangles), which were most probably related to an elite. After reassessing the nature of this elite, a new model of sociopolitical organization for this civilization is proposed.