Pub Date : 2022-02-17DOI: 10.1177/13591835221074151
Karin Zitzewitz, M. Ciotti
Special issue introduction.
特刊介绍。
{"title":"Art and anthropology: Twenty-five years of The Traffic in Culture","authors":"Karin Zitzewitz, M. Ciotti","doi":"10.1177/13591835221074151","DOIUrl":"https://doi.org/10.1177/13591835221074151","url":null,"abstract":"Special issue introduction.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"3 - 9"},"PeriodicalIF":0.9,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42483426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-04DOI: 10.1177/13591835221074167
Henrik B. Lindskoug, Wladimir Martínez
We have, during the Latin American spring, studied the material traces of state oppression and social movements in Temuco, Chile, and the transformation of the urban landscape with archaeological surveys. Our results demonstrate alterations in the urban landscape related to both police presence and protesters. Large amounts of teargas-projectiles and rubber bullets indicate strong police presence and repression of different social movements. We have also identified protection and resistance modes in the form of shields, paint bombs, and protective masks, often associated with graffiti's, barricades, and other alterations of the public space. Material vestiges combined with interviews have shown how state institutions have tried to cover up the traces of violence. We argue that archaeology can play a central role in this process and in recording the materiality of these events with the aim to hand over the information to human right associations to prevent state oppression.
{"title":"Contemporary archaeology in conflict zones: The materiality of violence and the transformation of the urban space in Temuco, Chile during the social outburst","authors":"Henrik B. Lindskoug, Wladimir Martínez","doi":"10.1177/13591835221074167","DOIUrl":"https://doi.org/10.1177/13591835221074167","url":null,"abstract":"We have, during the Latin American spring, studied the material traces of state oppression and social movements in Temuco, Chile, and the transformation of the urban landscape with archaeological surveys. Our results demonstrate alterations in the urban landscape related to both police presence and protesters. Large amounts of teargas-projectiles and rubber bullets indicate strong police presence and repression of different social movements. We have also identified protection and resistance modes in the form of shields, paint bombs, and protective masks, often associated with graffiti's, barricades, and other alterations of the public space. Material vestiges combined with interviews have shown how state institutions have tried to cover up the traces of violence. We argue that archaeology can play a central role in this process and in recording the materiality of these events with the aim to hand over the information to human right associations to prevent state oppression.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"28 1","pages":"63 - 86"},"PeriodicalIF":0.9,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48759787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-27DOI: 10.1177/13591835221074159
L. Bryant, K. Jamie, G. Sharples
Clay has a long history in the global south and has been extensively studied by ‘Western’ social scientists particularly anthropologists and archeologists in relation to histories of earlier civilisations and cultural practices. Clay in relation to contemporary ‘science’ has received less attention in social science despite the emergence of the sub-discipline of ‘clay science’ and its increasing focus on clay to transform wide ranging aspects of social life. In this paper we work towards an exploration of clay in science. We begin with the question of ‘what is clay?’ from the perspective of a multidisciplinary group of scientists, whilst being alert to culturally located and past knowledges of clay that shape current scientific knowledges and practices. Drawing on interviews with six clay scientists we explore the ontological and epistemological process for scientists in ‘reading’ clay to reveal how clay is ‘classified’, ‘worked upon’ and ‘partnered’. Our findings suggest that clay comes into being for scientists by being read as an informational and temporal medium and agentic matter with transformative promise to remedy specific threats to human and environmental health.
{"title":"Reading clay: The temporal and transformative potential of clay in contemporary scientific practice","authors":"L. Bryant, K. Jamie, G. Sharples","doi":"10.1177/13591835221074159","DOIUrl":"https://doi.org/10.1177/13591835221074159","url":null,"abstract":"Clay has a long history in the global south and has been extensively studied by ‘Western’ social scientists particularly anthropologists and archeologists in relation to histories of earlier civilisations and cultural practices. Clay in relation to contemporary ‘science’ has received less attention in social science despite the emergence of the sub-discipline of ‘clay science’ and its increasing focus on clay to transform wide ranging aspects of social life. In this paper we work towards an exploration of clay in science. We begin with the question of ‘what is clay?’ from the perspective of a multidisciplinary group of scientists, whilst being alert to culturally located and past knowledges of clay that shape current scientific knowledges and practices. Drawing on interviews with six clay scientists we explore the ontological and epistemological process for scientists in ‘reading’ clay to reveal how clay is ‘classified’, ‘worked upon’ and ‘partnered’. Our findings suggest that clay comes into being for scientists by being read as an informational and temporal medium and agentic matter with transformative promise to remedy specific threats to human and environmental health.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"28 1","pages":"87 - 105"},"PeriodicalIF":0.9,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47281799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-25DOI: 10.1177/13591835211069611
Karin Zitzewitz, M. Ciotti, G. Marcus, F. Myers
Karin Zitzewitz: We wanted to begin our conversation by asking about what we call here “the will to collaborate,” both among anthropologists in projects like Traffic in Culture, and among anthropologists and art world professionals. Since Traffic in Culture, George has written about this in terms of para-ethnography, in which anthropologists collaborate with “experts with shared, discovered and negotiated critical sensibilities,” including “those who are deeply complicit with and implicated in powerful institutional processes” (2000: 3,5). We recognize that current strands in the anthropology of art tend to rest upon collaborative processes with artists and, to much less of an extent, with other art-world actors. That stands in contrast with the call for independent ethnographies that you all made in the pages of Traffic.
{"title":"Refiguring Art and Anthropology, For Whom? A conversation with George E. Marcus and Fred R. Myers","authors":"Karin Zitzewitz, M. Ciotti, G. Marcus, F. Myers","doi":"10.1177/13591835211069611","DOIUrl":"https://doi.org/10.1177/13591835211069611","url":null,"abstract":"Karin Zitzewitz: We wanted to begin our conversation by asking about what we call here “the will to collaborate,” both among anthropologists in projects like Traffic in Culture, and among anthropologists and art world professionals. Since Traffic in Culture, George has written about this in terms of para-ethnography, in which anthropologists collaborate with “experts with shared, discovered and negotiated critical sensibilities,” including “those who are deeply complicit with and implicated in powerful institutional processes” (2000: 3,5). We recognize that current strands in the anthropology of art tend to rest upon collaborative processes with artists and, to much less of an extent, with other art-world actors. That stands in contrast with the call for independent ethnographies that you all made in the pages of Traffic.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"71 - 87"},"PeriodicalIF":0.9,"publicationDate":"2022-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41595617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-18DOI: 10.1177/13591835211069613
Karin Zitzewitz
The period between “liberalization,” or the 1991 opening of India's economy to foreign direct investment, and the 2008 onset of the Great Recession was one of unprecedented change in the forms of Indian art and the infrastructures that supported its understanding, presentation, and circulation. This period of efflorescence—of multiplying growth in and transformation of a set of interlocking artistic and social forms—poses methodological challenges similar to those identified by George E. Marcus and Fred R. Myers in their 1995 volume, The Traffic in Culture: Refiguring Art and Anthropology. Marcus and Myers’ call to focus on appropriation, boundary-making, and circulation, though meant to submit the Western art world to critique, coincides quite clearly with three particularly salient changes seen in Indian contemporary art in the period: the turn to unconventional material as artistic media (appropriation); the deliberate integration of artistic work with the materialities of everyday life (boundary); and the development of entirely new curatorial infrastructures and frameworks (circulation). The present essay examines these changes through Mumbai-based artist Navjot Altaf's post-1996, ongoing collaborative work with adivasi (indigenous) artists in the Central Indian region of Bastar. Eventually registered as the NGO Dialogue Interactive Artists Association (DIAA), the collective's activities have ranged from parallel exhibitions of “art” and “craft” to site-specific, cross-disciplinary engagements with play structures (Pilla Gudi) and water taps (Nalpar) built upon collective practices meant to bridge the considerable social distance between urban upper-class and adivasi artists. DIAA's work with water, like other artistic engagements with infrastructure, highlights the social, aesthetic, material, and political aspects of the built networks that sustain everyday life. Their critique leveraged Marcus and Myers’ ABCs, incorporating critical acts of appropriation, the active violation of social and geographical boundaries, and, above all, demonstration of a concern with circulation.
{"title":"When Does Infrastructure “Qualify for [Artistic] Attention”? The “ABCs” of Contemporary Art in Post-Liberalization India","authors":"Karin Zitzewitz","doi":"10.1177/13591835211069613","DOIUrl":"https://doi.org/10.1177/13591835211069613","url":null,"abstract":"The period between “liberalization,” or the 1991 opening of India's economy to foreign direct investment, and the 2008 onset of the Great Recession was one of unprecedented change in the forms of Indian art and the infrastructures that supported its understanding, presentation, and circulation. This period of efflorescence—of multiplying growth in and transformation of a set of interlocking artistic and social forms—poses methodological challenges similar to those identified by George E. Marcus and Fred R. Myers in their 1995 volume, The Traffic in Culture: Refiguring Art and Anthropology. Marcus and Myers’ call to focus on appropriation, boundary-making, and circulation, though meant to submit the Western art world to critique, coincides quite clearly with three particularly salient changes seen in Indian contemporary art in the period: the turn to unconventional material as artistic media (appropriation); the deliberate integration of artistic work with the materialities of everyday life (boundary); and the development of entirely new curatorial infrastructures and frameworks (circulation). The present essay examines these changes through Mumbai-based artist Navjot Altaf's post-1996, ongoing collaborative work with adivasi (indigenous) artists in the Central Indian region of Bastar. Eventually registered as the NGO Dialogue Interactive Artists Association (DIAA), the collective's activities have ranged from parallel exhibitions of “art” and “craft” to site-specific, cross-disciplinary engagements with play structures (Pilla Gudi) and water taps (Nalpar) built upon collective practices meant to bridge the considerable social distance between urban upper-class and adivasi artists. DIAA's work with water, like other artistic engagements with infrastructure, highlights the social, aesthetic, material, and political aspects of the built networks that sustain everyday life. Their critique leveraged Marcus and Myers’ ABCs, incorporating critical acts of appropriation, the active violation of social and geographical boundaries, and, above all, demonstration of a concern with circulation.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"30 - 47"},"PeriodicalIF":0.9,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44148682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-10DOI: 10.1177/13591835211052466
Timothy P. A. Cooper
If the politics of aspirational construction appeal to the enchantment of infrastructure, reconstruction usually takes as given an environment of post-conflict, natural disaster, or the degradation of systems of preservation or resource management. If construction and conservation are taken as markers of continuity and political stability what does the urge to build again say about those who exert these ideas in advancement of a set of common goals? Shaped through multi-sited ethnography in Pakistan and the United Arab Emirates, this essay explores the mediation of mood and its material speculations. Concepts borrowed from both the preservation of the moving image and digital forms of heritage restoration provide ways of rethinking the place of reconstruction and coming to a new understanding of its sensual and atmospheric terrain.
{"title":"Mood as medium: Reconstruction and the material speculations of “new heritage”","authors":"Timothy P. A. Cooper","doi":"10.1177/13591835211052466","DOIUrl":"https://doi.org/10.1177/13591835211052466","url":null,"abstract":"If the politics of aspirational construction appeal to the enchantment of infrastructure, reconstruction usually takes as given an environment of post-conflict, natural disaster, or the degradation of systems of preservation or resource management. If construction and conservation are taken as markers of continuity and political stability what does the urge to build again say about those who exert these ideas in advancement of a set of common goals? Shaped through multi-sited ethnography in Pakistan and the United Arab Emirates, this essay explores the mediation of mood and its material speculations. Concepts borrowed from both the preservation of the moving image and digital forms of heritage restoration provide ways of rethinking the place of reconstruction and coming to a new understanding of its sensual and atmospheric terrain.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"124 - 146"},"PeriodicalIF":0.9,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45439675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-03DOI: 10.1177/13591835211068940
J-E Denis, C. Hummel, David Pontille
This paper investigates the relationships consumers cultivate with mass-market commodities while caring for their authenticity. Drawing on a six-year ethnography of classic Mustang owners communities in France, Switzerland and Belgium, the authors show that, far from being a symbolic value only, or a resource into which people can “invest” in a mechanism of social distinction, authenticity can also appear as a burden that weighs constantly on the relationship between people and things. Indeed, throughout their uses and maintenance, the material integrity of classic Mustangs is of great concern for their owners, who apprehend every breakdown or maintenance intervention as threats that could jeopardize their car's authenticity. For the sake of security, comfort or health, because new regulations come up, or because some original parts are not available anymore, classic Mustangs owners compose with heterogeneous elements, constantly reshaping both their cars and their concerns for authenticity. The authors draw on Hennion's notion of “attachement” to describe the intimate relationship that grows through these arrangements. The notion particularly helps to grasp the ambivalence of the bonds between people and things: while they get more and more attached to their classic Mustang, owners are getting more and more worried. Moreover, throughout this growing relationship and the recurrent material interventions it draws on, the car does not remain passive. It progressively reveals itself, sometimes surprising its owner. Therefore, not only is authenticity “in the making” in this process, the contours of the thing itself evolve, as well as the knowledge of its owner.
{"title":"Getting attached to a classic Mustang. Use, maintenance and the burden of authenticity","authors":"J-E Denis, C. Hummel, David Pontille","doi":"10.1177/13591835211068940","DOIUrl":"https://doi.org/10.1177/13591835211068940","url":null,"abstract":"This paper investigates the relationships consumers cultivate with mass-market commodities while caring for their authenticity. Drawing on a six-year ethnography of classic Mustang owners communities in France, Switzerland and Belgium, the authors show that, far from being a symbolic value only, or a resource into which people can “invest” in a mechanism of social distinction, authenticity can also appear as a burden that weighs constantly on the relationship between people and things. Indeed, throughout their uses and maintenance, the material integrity of classic Mustangs is of great concern for their owners, who apprehend every breakdown or maintenance intervention as threats that could jeopardize their car's authenticity. For the sake of security, comfort or health, because new regulations come up, or because some original parts are not available anymore, classic Mustangs owners compose with heterogeneous elements, constantly reshaping both their cars and their concerns for authenticity. The authors draw on Hennion's notion of “attachement” to describe the intimate relationship that grows through these arrangements. The notion particularly helps to grasp the ambivalence of the bonds between people and things: while they get more and more attached to their classic Mustang, owners are getting more and more worried. Moreover, throughout this growing relationship and the recurrent material interventions it draws on, the car does not remain passive. It progressively reveals itself, sometimes surprising its owner. Therefore, not only is authenticity “in the making” in this process, the contours of the thing itself evolve, as well as the knowledge of its owner.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"259 - 279"},"PeriodicalIF":0.9,"publicationDate":"2022-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42735424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-31DOI: 10.1177/13591835211069603
R. Phillips
This article seeks to step back from the long-standing debate between art and artifact—aesthetics and science-- understood as terms that reference central concerns of the quintessentially modern Western disciplines of art history and anthropology. In their landmark edited volume The Traffic in Culture: Refiguring Art and Anthropology, George Marcus and Fred Myers explored the growing convergences exhibited by the concerns and methods of practitioners of the two disciplines, both in the academy and the museum. By training our attention on contemporary artworlds—understood as systems—they illuminated the exchanges of aesthetic and conceptual ideas and forms that have brought Western and non-Western arts into shared discursive and real spaces. Yet in the quarter century since the book’s publication there has been a noticeable retreat from attempts by the proponents of visual studies and an expanded visual anthropology to actualize disciplinary convergences. The boundaries that separate art and anthropology have not been dissolved. Art historians and anthropologists continue to ask different questions and to support different regimes of value. From the author’s vantage point in a settler society currently directing considerable energies to institutional projects of decolonization the old debates have rapidly been receding as a new ‘third term’ – Indigenous Studies-- intrudes itself on the well trodden terrain. Not (yet) definable as a discipline but, rather, maintaining itself as an orientation, Indigenous Studies nevertheless renders the earlier disciplinary debates moot. Place, rather than time-based, collective rather than individual, holistic rather than either disciplinary or interdisciplinary, Indigenous Studies formulations exert decolonizing pressures on institutions that are rapidly mounting. Using Anishinaabeg: Art and Power, a show in 2017 at the Royal Ontario Museum (ROM), as a case study, this article shows how an exhibition moved representation away from the art/artifact dichotomy as well as from contested strategies of ‘inclusion’ and pro forma recognitions of ‘Indigenous ontology’ toward a genuine paradigm shift.
本文试图从艺术与人工制品美学和科学之间长期存在的争论中退一步，这些争论被理解为参考了典型的现代西方艺术史和人类学学科的核心问题。乔治·马库斯和弗雷德·迈尔斯在他们具有里程碑意义的《文化交通:重新塑造艺术和人类学》一书中，探讨了这两个学科的实践者在学术界和博物馆中所关注的问题和方法所表现出的日益增长的趋同。通过将我们的注意力放在当代艺术世界——被理解为系统——他们阐明了美学和概念思想和形式的交流，这些交流将西方和非西方艺术带入了共享的话语和真实的空间。然而，在这本书出版后的四分之一个世纪里，视觉研究的支持者和扩展的视觉人类学实现学科融合的尝试出现了明显的退缩。艺术和人类学之间的界限并没有消失。艺术史学家和人类学家继续提出不同的问题，支持不同的价值体系。从作者的角度来看，在一个移民社会中，当前将大量精力投入到非殖民化的制度项目中，旧的辩论已经迅速消退，因为一个新的“第三术语”-土著研究-侵入了早已涉足的领域。土著研究(尚未)被定义为一门学科，而是维持自己作为一种方向，尽管如此，它使早期的学科辩论变得毫无意义。地点而不是时间为基础，集体而不是个人，整体而不是学科或跨学科，土著研究的形式对正在迅速增加的机构施加非殖民化压力。本文以2017年在皇家安大略博物馆(ROM)举办的展览Anishinaabeg: Art and Power为例，展示了一个展览如何将表现从艺术/人工制品的二分法，以及有争议的“包容”策略和对“土著本体论”的形式承认转向真正的范式转变。
{"title":"The issue is moot: Decolonizing art/artifact","authors":"R. Phillips","doi":"10.1177/13591835211069603","DOIUrl":"https://doi.org/10.1177/13591835211069603","url":null,"abstract":"This article seeks to step back from the long-standing debate between art and artifact—aesthetics and science-- understood as terms that reference central concerns of the quintessentially modern Western disciplines of art history and anthropology. In their landmark edited volume The Traffic in Culture: Refiguring Art and Anthropology, George Marcus and Fred Myers explored the growing convergences exhibited by the concerns and methods of practitioners of the two disciplines, both in the academy and the museum. By training our attention on contemporary artworlds—understood as systems—they illuminated the exchanges of aesthetic and conceptual ideas and forms that have brought Western and non-Western arts into shared discursive and real spaces. Yet in the quarter century since the book’s publication there has been a noticeable retreat from attempts by the proponents of visual studies and an expanded visual anthropology to actualize disciplinary convergences. The boundaries that separate art and anthropology have not been dissolved. Art historians and anthropologists continue to ask different questions and to support different regimes of value. From the author’s vantage point in a settler society currently directing considerable energies to institutional projects of decolonization the old debates have rapidly been receding as a new ‘third term’ – Indigenous Studies-- intrudes itself on the well trodden terrain. Not (yet) definable as a discipline but, rather, maintaining itself as an orientation, Indigenous Studies nevertheless renders the earlier disciplinary debates moot. Place, rather than time-based, collective rather than individual, holistic rather than either disciplinary or interdisciplinary, Indigenous Studies formulations exert decolonizing pressures on institutions that are rapidly mounting. Using Anishinaabeg: Art and Power, a show in 2017 at the Royal Ontario Museum (ROM), as a case study, this article shows how an exhibition moved representation away from the art/artifact dichotomy as well as from contested strategies of ‘inclusion’ and pro forma recognitions of ‘Indigenous ontology’ toward a genuine paradigm shift.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"48 - 70"},"PeriodicalIF":0.9,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42128945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-17DOI: 10.1177/13591835211066808
Saskia Abrahms-Kavunenko
Materially plastics are ambivalent. In spite of their often lauded quality of creating seemingly untethered imitations, representations and replacements, they have a materiality that leaks, off-gasses and disintegrates. They are accomplished at mimicry yet frequently unable to be remoulded. They are ostensibly resistant to microbial contamination yet absorb environmental pollutants and leach endocrine disrupting plasticisers. This article argues that, due to the material influence of plastics, their ubiquity, and the societal transformations that they have enabled, that anthropologists need to pay sustained attention to this material. Moreover, it argues that anthropological methods and theories are crucial to understanding plastics at a vital moment in their (and our) history. It articulates three ways in which anthropology can engage plastics at all stages in their lifecycles. Firstly, to study plastics challenges what it means to exist: whether or not human beings are bounded or permeable entities, experienced as individuated, collective or somewhere in between. Secondly, plastics disrupt what people know, are willing to know, or are persuaded is worth knowing about the production and disposal of the products that they consume. Thirdly, the materiality of plastics expose contemporary inequalities. Plastics can create unseen violence, both in their geographically unequal toxic distributions and in the vastness of their temporal effects.
{"title":"Toward an anthropology of plastics","authors":"Saskia Abrahms-Kavunenko","doi":"10.1177/13591835211066808","DOIUrl":"https://doi.org/10.1177/13591835211066808","url":null,"abstract":"Materially plastics are ambivalent. In spite of their often lauded quality of creating seemingly untethered imitations, representations and replacements, they have a materiality that leaks, off-gasses and disintegrates. They are accomplished at mimicry yet frequently unable to be remoulded. They are ostensibly resistant to microbial contamination yet absorb environmental pollutants and leach endocrine disrupting plasticisers. This article argues that, due to the material influence of plastics, their ubiquity, and the societal transformations that they have enabled, that anthropologists need to pay sustained attention to this material. Moreover, it argues that anthropological methods and theories are crucial to understanding plastics at a vital moment in their (and our) history. It articulates three ways in which anthropology can engage plastics at all stages in their lifecycles. Firstly, to study plastics challenges what it means to exist: whether or not human beings are bounded or permeable entities, experienced as individuated, collective or somewhere in between. Secondly, plastics disrupt what people know, are willing to know, or are persuaded is worth knowing about the production and disposal of the products that they consume. Thirdly, the materiality of plastics expose contemporary inequalities. Plastics can create unseen violence, both in their geographically unequal toxic distributions and in the vastness of their temporal effects.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"49 6","pages":"3 - 23"},"PeriodicalIF":0.9,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41277249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-17DOI: 10.1177/13591835211064426
Mark McConaghy
This paper examines the regional fiction of early twentieth century China in order to understand how such texts presented the object world of rural life. In doing so it addresses a gap in the historiography of material culture in modern China, which has emphasized urban commodity regimes and has paid far less attention to the ways in which pre-existing object practices endured into the time of the modern Republic. Building off of the methodological insights of scholars such as Bill Brownand Janet Poole regarding the contribution that literary study can make to historical understandings of material cultures, this paper argues that the regional texts of Lu Xun, Xu Qinwen, Ye Shengtao, and Yu Dafu were bewitched by overlapping life worlds: one represented by the secular rationalism of the text's narrators, and the other represented by the animistic practices of the rural others they encounter, which was expressed through objects such as joss sticks, temple doorsills, and ancestral alters. These literary works reflected upon how objects were used to make meaning in ways that were not reducible to urban commodity fetishism or remnant “superstition.” As presented in these works, spiritual objects remain powerfully active parts of the affective worlds of rural people, collapsing binary distinctions between living language and inanimate matter, the human and the ghostly, the past and the present. For the narrators of these texts, these object practices invoke a complicated mixture of modernizing critique and empathetic recognition. As such, these texts allow readers to witness the early expressions of a complex dialectic of rejection and recognition/accommodation that has marked the attitude modernizing states in China have taken in relation to animistic material cultures over the past century.
{"title":"Neither remnants nor commodities: Spirit objects in early twentieth century Chinese regional fiction","authors":"Mark McConaghy","doi":"10.1177/13591835211064426","DOIUrl":"https://doi.org/10.1177/13591835211064426","url":null,"abstract":"This paper examines the regional fiction of early twentieth century China in order to understand how such texts presented the object world of rural life. In doing so it addresses a gap in the historiography of material culture in modern China, which has emphasized urban commodity regimes and has paid far less attention to the ways in which pre-existing object practices endured into the time of the modern Republic. Building off of the methodological insights of scholars such as Bill Brownand Janet Poole regarding the contribution that literary study can make to historical understandings of material cultures, this paper argues that the regional texts of Lu Xun, Xu Qinwen, Ye Shengtao, and Yu Dafu were bewitched by overlapping life worlds: one represented by the secular rationalism of the text's narrators, and the other represented by the animistic practices of the rural others they encounter, which was expressed through objects such as joss sticks, temple doorsills, and ancestral alters. These literary works reflected upon how objects were used to make meaning in ways that were not reducible to urban commodity fetishism or remnant “superstition.” As presented in these works, spiritual objects remain powerfully active parts of the affective worlds of rural people, collapsing binary distinctions between living language and inanimate matter, the human and the ghostly, the past and the present. For the narrators of these texts, these object practices invoke a complicated mixture of modernizing critique and empathetic recognition. As such, these texts allow readers to witness the early expressions of a complex dialectic of rejection and recognition/accommodation that has marked the attitude modernizing states in China have taken in relation to animistic material cultures over the past century.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"166 - 191"},"PeriodicalIF":0.9,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43907659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：