Redrawing Anthropology
Námskeið
- MAN319M Kommon sens? - Mannfræði skynjunar og skynhátta
Ensk lýsing:
Why should anthropologists draw? The answer proposed in this groundbreaking volume is that drawing uniquely brings together ways of making, observing and describing. In twelve chapters, a team of authors from the UK, Europe, North America and Australia explore the potential of a graphic anthropology to change the way we think about creativity and perception, to grasp the dynamics of improvisatory practice, and to refocus the study of material culture from ready-made objects onto the flows of materials involved in the generation of things.
Drawing on expertise in fields ranging from craftwork, martial arts, and dance to observational cinema and experimental film, they ask what it means to follow materials, to learn movements and to draw lines. Along the way, they contribute to key debates on what happens in making, the relation between design and performance, how people acquire bodily skills, the place of movement in human self-awareness, the relation between walking and imagination, and the perception of time.
Lýsing:
Why should anthropologists draw? The answer proposed in this groundbreaking volume is that drawing uniquely brings together ways of making, observing and describing. In twelve chapters, a team of authors from the UK, Europe, North America and Australia explore the potential of a graphic anthropology to change the way we think about creativity and perception, to grasp the dynamics of improvisatory practice, and to refocus the study of material culture from ready-made objects onto the flows of materials involved in the generation of things.
Drawing on expertise in fields ranging from craftwork, martial arts, and dance to observational cinema and experimental film, they ask what it means to follow materials, to learn movements and to draw lines. Along the way, they contribute to key debates on what happens in making, the relation between design and performance, how people acquire bodily skills, the place of movement in human self-awareness, the relation between walking and imagination, and the perception of time.
Annað
- Höfundur: Ingold, Tim, Professor
- Útgáfa:1
- Útgáfudagur: 2016-04-08
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- Format:ePub
- ISBN 13: 9781317069782
- Print ISBN: 9781409417743
- ISBN 10: 1317069781
Efnisyfirlit
- Cover Page
- Half Title page
- Series page
- Title Page
- Copyright Page
- Contents
- List of Figures
- Notes on Contributors
- Preface and Acknowledgements
- Chapter 1 Introduction
- Prologue
- Follow the Materials
- Learn the Movements
- Draw the Lines
- Epilogue
- References
- Chapter 2 Materials in Making
- How Does Form Relate to Substance? Does the Idea Come First in Making?
- A Note on Vision
- The Material and the Object
- Conclusion
- Acknowledgements
- References
- Chapter 3 Practice Drawing Writing Object
- Introduction
- Excavation and the Trowel
- Plan and Section
- Drawing Filling
- Lines and Time
- Archivisation and Redrawing
- Acknowledgements
- References
- Chapter 4 Networks of Objects, Meshworks of Things
- Introduction
- Chaîne Opératoire: Descriptive or Prescriptive?
- Archaeological Case Studies
- Pottery Chaînes Opératoires
- Conclusions
- Acknowledgements
- References
- Chapter 5 Thinking through Movement: Practising Martial Arts and Writing Ethnography
- Introduction
- From Skill to Ethnography
- Spaces of Tactile Vision
- The Body as Note-taker and as Field-note
- Between Choreography and Performance
- References
- Chapter 6 Learning the ‘Banana-Tree’: Self Modification through Movement
- Introduction
- Using the Head
- Discovering the Bananeira
- Bodily conditioning
- Shaping reflexes
- Expanding capacity
- The Arduousness of ‘Modern Life’
- Conclusion: Learning the Movement
- Acknowledgements
- References
- Chapter 7 Performing Precision and the Limits of Observation
- Part I: Performing Precision
- Preliminaries
- Precision in performance
- Seeking sensationally
- Inside/outside dimensions
- Choreographic procedures
- Precision of meaning
- Concepts of Personhood
- Part II: Precision of Interpretation
- Earthboy and spatial orientation
- Part III: Walking as Action Sign
- Concluding Remarks
- References
- Part I: Performing Precision
- Chapter 8 The Imaginative Consciousness of Movement: Linear Quality, Kinaesthesia, Language and Life
- Linear Quality
- Kinaesthesia
- Language
- Life
- References
- Chapter 9 Beyond A to B
- I
- II
- III
- Acknowledgements
- References
- Chapter 10 Drawing with Our Feet (and Trampling the Maps): Walking with Video as a Graphic Anthropology
- The Problem of ‘Visual’ versus ‘Written’ Anthropology
- Walking, Drawing and Inscription
- Principles for Understanding Walking with Video
- Walking with video involves making lines
- Walking with video as playing forward – not playing back
- Making lines and moving forward as description
- Walking in the Garden
- The ‘natural line’
- Redrawing the path
- Drawing with his feet
- Walking, Drawing, Writing and Uncertainty in Anthropological Knowing
- Acknowledgements
- References
- Chapter 11 ‘Both Created and Discovered’: The Case for Reverie and Play in a Redrawn Anthropology
- Introduction
- Heightened Awareness and Jean Rouch’s Ciné-transe
- Winnicott’s ‘Transitional Object’
- Reverie and Play in Marion Milner’s Painting and Drawing
- Foregrounding Play in the Pol Project
- Conclusion
- Acknowledgements
- References
- Chapter 12 Expanded Visions: Rethinking Anthropological Research and Representation through Experimental Film
- Introduction
- Experimental Film: The Fundamental Questions
- Experienced Time and Optical Effects
- The Single Camera and the Multiple Observer6
- Experimental Film and Anthropology: Critical Challenges and Differences
- Conclusion
- Acknowledgements
- References
- Index
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- Gerð : 208
- Höfundur : 17504
- Útgáfuár : 2016
- Leyfi : 380