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An archaeologist talks trash
Author, UChicago Asst. Prof. Sarah Newman reframes history of waste in her new book
(1º§) Seeing constant images of floating trash islands and overwhelmed landfills can make it seem as though garbage has been a problem piling up for all of human existence.
(2º§) Book cover for Unmaking Waste by Sarah Newman. Cover has a blue background with grey and white images of trash items. However, UChicago Asst. Prof. Sarah Newman wants to dispose of this simplified version of history. In "Unmaking Waste: New Histories of Old Things," she argues that "waste is neither universal nor self-evident." The anthropological archaeologist claims that waste—what we deem "unwanted"—is a relatively recent idea.
(3º§) According to Newman, Western assumptions about waste begin with an imagined long, dirty stretch of "ancient past" broken up by a few expectations like a gleaming Rome (which Newman says is nastier than we think). In traditional histories of trash, this is followed by a filthy, unwashed Middle Ages leading into a dawning awareness of hygiene, public health and sanitation.
(4º§) Newman moves away from this sanitized narrative and heads to ancient Mesoamerica where the story of waste is far from linear. Using examples and archeological evidence from before and during colonization, Newman shows that people have thought about—and used—"trash" in many different ways.
(5º§) Q: What drew you to study the history of waste?
(6º§) I got interested in the history of waste during graduate school, while I was working at an ancient Maya city called El Zotz, in northern Guatemala. Over a couple of field seasons, archaeologists from our team uncovered unusual, very dense deposits of artifacts in the palace at the city's center.
(7º§) Basically, they were things that seemed to be ancient trash because they were burnt, broken and scattered, but they were also things that didn't seem to be ancient trash because some of the materials were rare or valuable.
(8º§) This made me wonder not only how exactly other archaeologists and I were classifying ancient artifacts as trash or not-trash, but also whether people in the past even had something like the category of "waste" that we have today.
(9º§) Q: In what ways has "trash" defined archaeology and in what ways has our understanding of waste been defined by archaeologists?
(10º§) Archaeology has sometimes been called "the science of rubbish." Although meant to be something of a joke, this also reflects an assumption that archaeologists usually deal with things that people have left behind because they are unwanted or useless. That may be true in some cases, but people also leave things behind that are valuable or serve a specific purpose (such as a burial or an offering).
(11º§) Archaeologists are the ones who decide whether or not what we find is or is not trash, but we don't do that in a vacuum—we can't help but be influenced by the ways the societies that we come from decide what is or is not trash.
(12º§) For example, in the mid-20th century, when the U.S. was celebrating postwar production and consumerism, archaeologists tended to view ancient trash the same way most people viewed modern trash: as evidence of technological progress. With the rise of environmentalism, however, people (including archaeologists) were suddenly more conscious of the trash they themselves were making and we started to view ancient trash and ways of discarding it as reflections of broader social structures.
(13º§) I also think archaeology has had a role (even if an unintentional one) in making trash appear to be an inevitable, even natural fact of life—imagining that our ancestors have been making waste for many thousands of years gives us a convenient excuse for all the trash we make today.
(14º§) Q: You talk about how trash has some mirror-like qualities. What can our trash tell us about ourselves?
(15º§) If you were to imagine someone you know going through the contents of your trash can right now, it would probably make you uncomfortable. Think about all the things someone would learn about you—what you've eaten recently, what newspapers or magazines you've read, what kinds of health or beauty products you use, maybe even some financial details, just to name a few.
(16º§) When I'm teaching about trash, I often use an incredible series of photos by Gregg Segal called "7 Days of Garbage" to illustrate this point. Sometimes I remove the individuals in the portraits and ask my students to describe the missing people just from their trash. It's surprising how much the students can tell about the people—the products and packaging reveal details about family composition, socioeconomic status, ethnicity, gender roles, tastes and hobbies, etc.
(17º§) Q: What are some interesting ways that people have thought about or managed waste in the past?
(18º§) One of the things I write about in the book is the way that the Aztec capital of Tenochtitlán (now Mexico City) had a sophisticated system of waste management in place in the early sixteenth century—a time when many European cities were plagued by garbage-lined streets, clogged gutters, and the indiscriminate dumping of bodily wastes and animal remains.
(19º§) Spaniards described the size and structures of Tenochtitlán with wonder, but they also marveled at the order and cleanliness throughout the city. Several accounts note that an army of laborers were constantly at work sweeping and whitewashing the streets, temples, stairways, courtyards, and houses.
(20º§) One conquistador even describes a system of public latrines, hidden from sight with reeds or grass, from which excrement was collected and reused as agricultural fertilizer. The same account also mentions that canoes full of human waste were sold at the local marketplace, where it was then used in tanning animal hides. Bodily waste could also sometimes be used as a religious offering, especially in acts of penitence.
(21º§) Q: What are some of the common myths we have about trash?
(22º§) The biggest myth about trash is simply that we talk about throwing things "away." There is not, nor has there ever been, an "away" for things to go. As inhabitants of industrialized cities, we often think of landfills as places set apart for things to decay, deteriorate and vanish, but in reality, landfills tend to offer ideal conditions for preservation.
(23º§) Not only do materials refuse to disappear, but the things we think we discard make their way back to us, into our very bodies. Of all the plastic waste ever created—billions of metric tons—about 9% has been recycled. The rest has been found, often reduced to microplastics, everywhere from the Mariana Trench to the top of Mount Everest and from human breast milk to human blood.
(24º§) The title of my book is really about this myth—there is no unmaking our actual waste, but I think we can unmake the idea that it is an inevitable part of human life.
https://news.uchicago.edu/story/archaeologist-talks-trash
In the sentence "Newman wants to dispose of this simplified version of history,[...]" (2º§) what does the phrasal verb "dispose of" mean?
An archaeologist talks trash
Author, UChicago Asst. Prof. Sarah Newman reframes history of waste in her new book
(1º§) Seeing constant images of floating trash islands and overwhelmed landfills can make it seem as though garbage has been a problem piling up for all of human existence.
(2º§) Book cover for Unmaking Waste by Sarah Newman. Cover has a blue background with grey and white images of trash items. However, UChicago Asst. Prof. Sarah Newman wants to dispose of this simplified version of history. In "Unmaking Waste: New Histories of Old Things," she argues that "waste is neither universal nor self-evident." The anthropological archaeologist claims that waste—what we deem "unwanted"—is a relatively recent idea.
(3º§) According to Newman, Western assumptions about waste begin with an imagined long, dirty stretch of "ancient past" broken up by a few expectations like a gleaming Rome (which Newman says is nastier than we think). In traditional histories of trash, this is followed by a filthy, unwashed Middle Ages leading into a dawning awareness of hygiene, public health and sanitation.
(4º§) Newman moves away from this sanitized narrative and heads to ancient Mesoamerica where the story of waste is far from linear. Using examples and archeological evidence from before and during colonization, Newman shows that people have thought about—and used—"trash" in many different ways.
(5º§) Q: What drew you to study the history of waste?
(6º§) I got interested in the history of waste during graduate school, while I was working at an ancient Maya city called El Zotz, in northern Guatemala. Over a couple of field seasons, archaeologists from our team uncovered unusual, very dense deposits of artifacts in the palace at the city's center.
(7º§) Basically, they were things that seemed to be ancient trash because they were burnt, broken and scattered, but they were also things that didn't seem to be ancient trash because some of the materials were rare or valuable.
(8º§) This made me wonder not only how exactly other archaeologists and I were classifying ancient artifacts as trash or not-trash, but also whether people in the past even had something like the category of "waste" that we have today.
(9º§) Q: In what ways has "trash" defined archaeology and in what ways has our understanding of waste been defined by archaeologists?
(10º§) Archaeology has sometimes been called "the science of rubbish." Although meant to be something of a joke, this also reflects an assumption that archaeologists usually deal with things that people have left behind because they are unwanted or useless. That may be true in some cases, but people also leave things behind that are valuable or serve a specific purpose (such as a burial or an offering).
(11º§) Archaeologists are the ones who decide whether or not what we find is or is not trash, but we don't do that in a vacuum—we can't help but be influenced by the ways the societies that we come from decide what is or is not trash.
(12º§) For example, in the mid-20th century, when the U.S. was celebrating postwar production and consumerism, archaeologists tended to view ancient trash the same way most people viewed modern trash: as evidence of technological progress. With the rise of environmentalism, however, people (including archaeologists) were suddenly more conscious of the trash they themselves were making and we started to view ancient trash and ways of discarding it as reflections of broader social structures.
(13º§) I also think archaeology has had a role (even if an unintentional one) in making trash appear to be an inevitable, even natural fact of life—imagining that our ancestors have been making waste for many thousands of years gives us a convenient excuse for all the trash we make today.
(14º§) Q: You talk about how trash has some mirror-like qualities. What can our trash tell us about ourselves?
(15º§) If you were to imagine someone you know going through the contents of your trash can right now, it would probably make you uncomfortable. Think about all the things someone would learn about you—what you've eaten recently, what newspapers or magazines you've read, what kinds of health or beauty products you use, maybe even some financial details, just to name a few.
(16º§) When I'm teaching about trash, I often use an incredible series of photos by Gregg Segal called "7 Days of Garbage" to illustrate this point. Sometimes I remove the individuals in the portraits and ask my students to describe the missing people just from their trash. It's surprising how much the students can tell about the people—the products and packaging reveal details about family composition, socioeconomic status, ethnicity, gender roles, tastes and hobbies, etc.
(17º§) Q: What are some interesting ways that people have thought about or managed waste in the past?
(18º§) One of the things I write about in the book is the way that the Aztec capital of Tenochtitlán (now Mexico City) had a sophisticated system of waste management in place in the early sixteenth century—a time when many European cities were plagued by garbage-lined streets, clogged gutters, and the indiscriminate dumping of bodily wastes and animal remains.
(19º§) Spaniards described the size and structures of Tenochtitlán with wonder, but they also marveled at the order and cleanliness throughout the city. Several accounts note that an army of laborers were constantly at work sweeping and whitewashing the streets, temples, stairways, courtyards, and houses.
(20º§) One conquistador even describes a system of public latrines, hidden from sight with reeds or grass, from which excrement was collected and reused as agricultural fertilizer. The same account also mentions that canoes full of human waste were sold at the local marketplace, where it was then used in tanning animal hides. Bodily waste could also sometimes be used as a religious offering, especially in acts of penitence.
(21º§) Q: What are some of the common myths we have about trash?
(22º§) The biggest myth about trash is simply that we talk about throwing things "away." There is not, nor has there ever been, an "away" for things to go. As inhabitants of industrialized cities, we often think of landfills as places set apart for things to decay, deteriorate and vanish, but in reality, landfills tend to offer ideal conditions for preservation.
(23º§) Not only do materials refuse to disappear, but the things we think we discard make their way back to us, into our very bodies. Of all the plastic waste ever created—billions of metric tons—about 9% has been recycled. The rest has been found, often reduced to microplastics, everywhere from the Mariana Trench to the top of Mount Everest and from human breast milk to human blood.
(24º§) The title of my book is really about this myth—there is no unmaking our actual waste, but I think we can unmake the idea that it is an inevitable part of human life.
https://news.uchicago.edu/story/archaeologist-talks-trash
In the sentence "Archaeology has sometimes been called 'the science of rubbish.' "(10º§) what does the word "rubbish" means?
As Diretrizes Curriculares da Educação Básica (2013) fundamentam que o direito à educação é visto como fundamento maior destas Diretrizes. Portanto, no que se relaciona à esse direito, estão descritos os civis, políticos e sociais, dentre eles, faça a correlação entre o tipo de direito e suas respectivas características.
Coluna I
I.Direitos políticos.
II.Direitos sociais.
III.Direitos civis.
Coluna II
a.Se referem aos direitos que dependem da ação do Estado para serem concretizados e estão associados, fundamentalmente, à melhoria das condições de vida do conjunto da população, relacionando-se com a questão da igualdade social.
b.Vai além do direito de votar e ser votado, está relacionado com a inserção plena do conjunto de indivíduos nos processos decisórios que ocorrem nas diferentes esferas da vida pública. Implica, ainda, o reconhecimento de que os cidadãos, mais do que portadores de direitos, são criadores de novos direitos e de novos espaços para expressá-los.
c.Dizem respeito aos direitos do indivíduo garantidos pela legislação de cada país, como por exemplo, o direito à privacidade, à liberdade de opinião e de crenças e o direito à defesa diante de qualquer acusação.
Assinale a alternativa que correlaciona corretamente as colunas, I e II.
A musicoterapia é uma abordagem terapêutica aplicada em uma grande variedade de contextos. Sobre esse assunto, assinale a alternativa CORRETA.
Acerca do barroco brasileiro, julgue as frases abaixo:
I.As igrejas barrocas, como a Igreja de São Francisco de Assis em Ouro Preto e a Igreja do Bonfim em Salvador, apresentam fachadas elaboradamente decoradas, com entalhes intrincados em madeira, imagens esculpidas e detalhes dourados.
II.Artistas como Aleijadinho, conhecido por suas obras em Congonhas do Campo, criaram esculturas impressionantes em madeira e pedra sabão, enquanto pintores como Manuel da Costa Ataíde produziram obras que combinavam elementos do barroco europeu com temas e cenários locais.
III.Compositores como Padre José Maurício Nunes Garcia e Ary Barroso produziram obras que incorporavam elementos do barroco europeu, como os choros e as óperas, mas também integraram ritmos e melodias locais, criando uma sonoridade distintivamente brasileira.
Está (ão) CORRETA (S) a (s) seguinte (s) proposição (ões).
Julgue as sentenças abaixo como VERDADEIRAS ou FALSAS:
1.(__)Ao longo da história, a arte tem servido como uma linguagem intrínseca, uma comunicação silenciosa que atravessa barreiras culturais, temporais e linguísticas.
2.(__)Ao incorporar a arte na educação, estamos proporcionando aos estudantes não apenas aprender a desenhar ou esculpir, mas decifrar o simbolismo, ler nas entrelinhas, capturar nuances emocionais e interpretar o mundo com um olhar crítico e inquisitivo.
3.(__)A educação age como o catalisador que liberta as potencialidades criativas devendo ser encarada como um molde rígido que celebra o erro como um precursor da inovação e valoriza a individualidade de cada aluno.
A sequência CORRETA
Na teoria da fotografia, o termo "triângulo de exposição" refere-se à relação fundamental entre três elementos essenciais que afetam a exposição de uma fotografia. Cada um desses elementos desempenha um papel crucial na captura da imagem desejada. São eles:
Durante o século XVIII, um período caracterizado por avanços artísticos notáveis, diversos pintores talentosos surgiram, cada um com seu estilo singular e contribuição marcante para a história da arte. Entre esses artistas, um se destacou por suas obras altamente detalhadas e composições complexas. Reconhecido pelo estilo neoclássico e por desempenhar um papel significativo na Revolução Francesa, ele é considerado um dos pintores mais influentes de seu tempo, sendo admirado por suas habilidades técnicas excepcionais e pelas narrativas poderosas presentes em suas pinturas. Uma de suas obras mais notáveis é "A Morte de Marat" (1793). Estamos falando de:
O X é um dos mais importantes e icônicos grupos teatrais do Brasil. Fundado em 1958, em São Paulo, por Zé Celso Martinez Corrêa, o grupo é conhecido por suas performances inovadoras, experimentais e provocativas, que desafiam os limites tradicionais do teatro. O X é famoso por suas produções teatrais que misturam diversas formas de expressão artística, incluindo teatro, música, dança e artes visuais. O grupo é conhecido por suas encenações arrojadas de clássicos da literatura, peças de teatro contemporâneas e criações originais. Eles frequentemente exploram temas políticos e sociais em suas produções, buscando provocar reflexão e discussão no público.
Marque a alternativa que substitui corretamente o X no texto acima.
Acerca da cerâmica indígena brasileira, julgue as frases abaixo:
I.A cerâmica indígena varia significativamente de uma aldeia para outra, refletindo as diferenças culturais, históricas e geográficas entre os grupos indígenas no Brasil. Cada aldeia possui suas técnicas específicas de modelagem, decoração e queima, resultando em estilos únicos e distintos.
II.A cerâmica indígena muitas vezes incorpora símbolos e padrões significativos para a cultura da aldeia. Estes podem representar elementos da natureza, como animais, plantas ou elementos do cotidiano, bem como símbolos espirituais ou mitológicos.
III.As peças cerâmicas indígenas têm usos variados, desde utensílios domésticos, como potes, panelas e tigelas, até objetos cerimoniais usados em rituais religiosos e festivais.
Está (ão) CORRETA (S) a (s) seguinte (s) proposição (ões).
Na dança, a percepção de espaço desempenha um papel crucial na criação de movimentos fluidos e expressivos. Qual dos seguintes princípios é frequentemente aplicado na dança para criar uma sensação de profundidade e tridimensionalidade no palco?
Julgue as sentenças abaixo como VERDADEIRAS ou FALSAS:
1.(__)No cinema, a teoria do montage of attractions, desenvolvida pelos cineastas russos, enfatiza o impacto emocional das imagens e sua capacidade de provocar uma resposta imediata e visceral da audiência, em vez de apenas focar na narrativa tradicional.
2.(__)Uma profundidade de campo densa ocorre quando apenas um pequeno intervalo na cena está nítido, enquanto uma profundidade de campo rasa significa que a maioria ou toda a cena está em foco.
3.(__)A profundidade de campo no cinema refere-se à extensão da cena, desde o ponto mais próximo da câmera até o ponto mais distante, que permanece nítida e em foco.
A sequência CORRETA é:
Na linguagem da dança, o termo usado para descrever um movimento corporal que é uma transição suave e contínua entre duas posições ou passos diferentes, é chamado de:
Qual dos seguintes materiais é comumente usado na técnica de aquarela para criar efeitos de textura e detalhes em uma pintura?
No contexto da composição coreográfica que se baseia em diversas fontes culturais, qual dos seguintes princípios é essencial para garantir uma representação respeitosa e autêntica das tradições de dança?
De acordo com os Parâmetros Curriculares Nacionais de Arte, a avaliação no processo de ensino e aprendizagem de arte precisa ser realizada com base nos conteúdos, objetivos e orientação do projeto educativo na área e tem alguns momentos para sua concretização, EXCETO:
No contexto das relações entre arte, mídia e indústria cultural, um termo amplamente discutido é "espetacularização". Qual das seguintes afirmações sobre a espetacularização é verdadeira?
Sobre o ensino de arte na contemporaneidade, podemos afirmar que precisa:
Um dispositivo de memória que surgiu no ano de 2000 e é desenvolvido com memória flash. Permite a sua conexão a qualquer equipamento com uma entrada USB.
Fonte: https://www.ufsm.br/unidades-universitarias/ctism/cte/ wp-content/uploads/sites/413/2018/12/arquitetura_ computadores.pdf
Marque a alternativa CORRETA que corresponde ao contexto acima.
De acordo com os dados da Velotric Bike de 2023, qual é o efeito mais significativo do exercício matinal em relação à produtividade e satisfação no trabalho?
Conheça nossos planos