scholarly journals Mining Textiles:Extracting multi-narrative responses from textiles to rethink a mining past

2019 ◽  
Vol 1 ◽  
pp. 33-42
Author(s):  
Claire Barber
Keyword(s):  
Social Anthropology ◽  
Artistic Practice ◽  
Clothing Design ◽  
Starting Point ◽  
Ways Of Thinking ◽  
Nature Studies

This article is evidence of a practice-based investigation into the imaginative worlds of mining and textiles as a starting point for transforming ways of thinking and creating in the locality. Featuring artist-in-residence and archival processes of research, and performative and site-responsive interventions, a number of recurring themes of enquiry will be developed that combine elements of clothing design, historical studies, nature studies, photography, inflatable construction and social anthropology. The article will draw from the authors artistic practice in the extraction of multi-narrative responses from textiles as an inventive method for engaging site-specifically with former mining locations in UK and Australia.

Chechen Refugees in Poland on ‘Tolerated Stay’: Different Perspectives of Hospitality in the Context of Theatrical Action in a Private Apartment

2019 ◽  
Author(s):  
Karolina Izdebska
Keyword(s):  
Qualitative Methods ◽  
Research Methods ◽  
Social Problems ◽  
Learning Processes ◽  
Starting Point ◽  
Art Based Research ◽  
History Of ◽  
Theatrical Play ◽  
Ways Of Thinking

Abstract Many researchers show that the medium of the theatre can be an effective tool for collecting and analysing data and designing learning processes, especially when it comes to issues relevant to communities. Art-based research methods offer different ways of thinking, perceiving and researching social problems. The analysed theatrical play, ‘Tolerated Stay’, addresses the issues of hospitality in the context of refugees. The starting point is the history of a Chechen family with whom the artists worked and who stayed in Poland under a tolerated-stay permit. The play was realized in a private apartment. The convention of a meeting at a table opens the field for debate on the themes of the emigration and hospitality. In the analysis, three perspectives of hospitality were distinguished (of refugees, artists and participants). Following the principle of triangulation, different methods from theatre activity were supplemented by qualitative methods.

The Current State of Anomie in Angola

2017 ◽  
Vol 23 (1) ◽  
pp. 26-39
Author(s):  
Ruy Llera Blanes
Keyword(s):  
Social Anthropology ◽  
Revolutionary Movement ◽  
Current Regime ◽  
Current State ◽  
Classic Theory ◽  
Starting Point ◽  
Conservative View ◽  
French Author ◽  
Post War

In this article I explore the contemporary relevance of Émile Durkheim’s classic theory of anomie with respect to both the discipline of social anthropology and the study of politics in Africa. I take as a case study present-day, post-war Angola, where an activist mobilisation (the Revolutionary Movement) has engaged in what I call ‘anomic diagnostics’ in opposing the country’s current regime. Through a political reading of Durkheim’s theory, I suggest that, while the French author situates anomie and suicide as cause and consequence respectively within a conservative view of society, Angolan activists instead see anomie as the starting point for a progressive political proposition productive of rupture.

PANDORA'S BOX: WALTER CRANE, “OUR SPHINX-RIDDLE,” AND THE POLITICS OF DECORATION

2007 ◽  
Vol 35 (1) ◽  
pp. 309-326
Author(s):  
Morna O'Neill
Keyword(s):  
Arts And Crafts ◽  
Artistic Practice ◽  
Oil Painting ◽  
Homi Bhabha ◽  
Classical Mythology ◽  
Starting Point ◽  
Political Agitation ◽  
History Of ◽  
The Right ◽  
Cultural Hierarchies

WITH WALTER CRANE, marginality is a question of medium. For his contemporaries, Crane's artistic practice embodied the ethos of Arts and Crafts eclecticism, apparent in this view of his studio from 1885 (Figure 15): watercolor, oil painting, tempera, sculpture, design, and illustration vie for our attention. As the painter Sir William Rothenstein recalled, “Crane could do anything he wanted, or anyone else wanted” (292). As an artist, designer, and – crucially – a socialist, Crane disregarded the traditional distinctions between high art and popular culture. With a history of art constructed along the fault lines of media, school, and style, Crane's diverse artistic practice and radical politics defy easy categorization. And this is precisely the point: his work requires the viewer to think across media, to move from the margins of wallpaper and illustration to the center of painting and back again. Or perhaps it is more fruitful to think of this process as one of inversion, placing wallpaper at the center and painting at its margins. According to Homi Bhabha, it is this “disjunctive temporality” (151) of the margins that allows cultural identity and political solidarities to emerge. The forging of political solidarities through art was the crux of Crane's project, and the disruption of established cultural hierarchies signaled the central role of art in political agitation. Visible on the right margin of photograph of Crane's studio (see Figure 15), the watercolor Pandora from 1885 (Figure 16) provides an ideal starting point for an exploration of the ways in which socialist politics move from the decorative margins to the very heart of Crane's art, a process enabled by the artist's politicized reinterpretation of classical mythology.

scholarly journals EATING (WITH) PIRANHAS: UNTAMED APPROACHES TO DOMESTICATION

2016 ◽  
Vol 13 (2) ◽  
pp. 38-57
Author(s):  
Carlos Emanuel Sautchuk ◽  
Keyword(s):  
Social Anthropology ◽  
Nature And Culture ◽  
Starting Point ◽  
Subject And Object ◽  
The Relationship

Abstract In this article I begin by describing my sense of ethnographic unease concerning the commensality and the conviviality of two predators in Amazonian lakes - piranhas and fishermen. From this starting point I then discuss the notion of domestication, commenting on the current tendency to reaffirm use of the term in social anthropology and revisiting two approaches: that of Jean-Pierre Digard (and other French authors) and that of Tim Ingold, both of whom make use of this notion in their ethnographic explorations of the relation between humans and animals. The article then returns to explore the potential of the notion of domestication for making explicit contemporary questions and dilemmas such as nature and culture, human and animal, subject and object. I conclude with a reflection on the ideas of domestication and predation in the relationship between piranhas and fishermen.

scholarly journals DISSENTING BODY AND ITS CREATIVE RECONTEXTUALISATION IN LITHUANIAN VISUAL ARTS

2019 ◽  
Vol 12 (2) ◽  
pp. 361-375
Author(s):  
Basia Nikiforova ◽  
Kęstutis Šapoka
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Cultural Development ◽  
The Body ◽  
New Materialism ◽  
Artistic Practice ◽  
Clear Cut ◽  
Cultural Biography ◽  
Starting Point ◽  
Art As Research

The body is an important starting point concept throughout deconstruction, reconstruction and recontextualization of the body’s concept. This change of focus in research that stems from the results to the process of contextualization means that the researcher should engage with texts or images, as they are reflected in the process of cultural development and exchange, through which decontextualization is exhibited. This article deals with the concept of new materialism and endeavors to explain, how discourses come to matter. It examines the issue of how new materialism tackles visual art in innovative ways – through the intersections of artistic practice, art-as-research, and philosophical analysis. Such definitions as Maurice Merleau-Ponty’s “a bodily being”, Julia Kristeva’s “the abjection of the self”, Arjun Appadurai’s “the aesthetics of decontextualization” and “singularized object”, Igor Kopytoff’s “the cultural biography of things”, and Nicholas Thomas’ “entangled objects”, constitute the methodological frameworks of our research. We will analyze such approaches as Hans Belting’s concept of body as a “living medium”, Giorgio Agamben’s view on body as an object of commodification and Jacques Derrida’s “trust in painting”. An attempt to understand body reconceptualization and deconstruction through the categories of new materialism is the most important aim of this article. Karen Barad’s concept of intra-action (that implies a clear-cut subject-object distinction) is crucial to our research, which underlines that bodies have no inherent boundaries and properties and that the analyzed representations are “material-discursive phenomena”. The artworks under consideration will be confronted with a diagnosis that, according to Barad, all bodies come to matter thanks the intra-activity and its performativity. The case studies of Svajonė Stanikienė and Paulius Stanikas, Evaldas Jansas and Eglė Rakauskaitė works show how the image of the body is developed through the processes of their deconstruction and decontextualization.

Interface as Utopia

2017 ◽  
Author(s):  
Michael F. Leruth
Keyword(s):  
Technological Progress ◽  
Artistic Practice ◽  
Personal Preference ◽  
Starting Point ◽  
The Everyday ◽  
Utopian Thinking ◽  
Visual Projection ◽  
The Ideal

The Conclusion looks more closely at the utopian thread that runs through Forest’s artistic practice beginning with an overview of his lifelong preoccupation with immaterial forms of territoriality and his personal preference for more “realistic” forms of utopia. After outlining the symptoms of a postmodern crisis in western utopian thinking in its dominant perspectival form emphasizing visual projection, collective projects, and social-technological progress, it goes on to examine the ways in which Forest’s art represents a fundamental reconfiguration of the notion of utopia that differs from the enfeebled western paradigm in several important respects. Foremost among these differences is that Forest puts utopia in reverse by making utopia (i.e., the everyday pseudo-utopia of the modern mediascape, which he subjects to defamiliarizing realism) the mundane starting point rather than the ideal culmination of his utopian artistic practice. The Conclusion closes with a retrospective look at Forest’s body of work through the lens of the four main types of utopian interfaces he creates: the specular interface, the subversive interface, the metacommunicational interface, and the liminal interface.

Political evolution in the Songea Ngoni chiefdoms, 1850–1905

1974 ◽  
Vol 37 (1) ◽  
pp. 82-97 ◽  
Author(s):  
P. H. Gulliver
Keyword(s):  
The Other ◽  
Customary Law ◽  
Social Anthropology ◽  
Southern Province ◽  
Political Evolution ◽  
Starting Point ◽  
Anthropological Research

Before he became a professional linguist, Wilfred Whiteley was employed in anthropological research by the then Government of Tanganyika in the Southern Province of that Territory (1948–51). In 1949 he was requested to investigate the customary law on chiefly succession in the Njelu Ngoni chiefdom of Songea District, where dispute had arisen over the appointment of a new chief. In 1952–3 I was asked to continue and to widen those inquiries, both as part of a general anthropological survey and because a succession dispute had developed in the other Ngoni chiefdom in the same District. Whiteley had left a brief memorandum and a few notes which I was able to use as a starting-point. Some of the resulting data have been published elsewhere (Gulliver, 1954, 1955, and 1971). It is fitting, however, to return to those materials in memory of my old friend and colleague, and as a reminder of his sustained interest in social anthropology.

The New Testament Basis of the Doctrine of the Church

1950 ◽  
Vol 1 (1) ◽  
pp. 1-11 ◽  
Author(s):  
T. W. Manson
Keyword(s):  
New Testament ◽  
Starting Point ◽  
The New Testament ◽  
Ways Of Thinking ◽  
The Cross ◽  
The Moment ◽  
Doctrine Of The Church ◽  
The Church

As the starting-point of this paper I take the question, When did the Church come into existence? It is a question to which a great variety of answers is given; but they can be classified in two groups according to whether they put the birth of the Church before or after the death of Christ. These two groups again correspond roughly with two ways of thinking about the Church. We may think of it primarily as an organization with a function to perform; and in that case we shall think—as I do—of its coming into being at the moment that Jesus called his first disciple. Or we may think of it as a body of people who possess a certain status before God—forgiven sinners, redeemed persons or the like—and in that case we shall tend to think of its coming into being as a sequel to the completed redemptive work of Christ on the Cross.

scholarly journals The Transhumanist Creep

2021 ◽  
Author(s):  
Roman Bartosch
Keyword(s):  
Cultural Studies ◽  
Educational Theory ◽  
Theory And Practice ◽  
Everyday Practices ◽  
Starting Point ◽  
Literature Pedagogy ◽  
Ways Of Thinking ◽  
Affective Impact

This contribution takes one of posthumanism’s most powerful conceptual distinctions – between posthumanist thought and its ill-famed doppelgaenger, transhumanism – as the starting point for a critique of posthumanist thinking in education. Pointing to moments in which both post- and transhumanism become harder to distinguish in educational theory and practice, it utilises the notion of the ‘creep phenomenon’ to describe how these seemingly opposite concepts and ways of thinking can become uncomfortably entangled in everyday practices of teaching and of marketing posthumanism. It thus makes a case for the need for empirical thick descriptions of practices in which theoretical posthumanist thought finds application and points to the unsought intersection and overlap between post- and transhumanist thought. Drawing on work on the cognitive and affective impact of literature, it suggests that literature pedagogy is one of the places where such convergences are explicitly reflected and that literature pedagogy as a form of applied literary and cultural studies provides helpful provocations and potential ameliorations of a prevalent practice-blindness in the field.

Researching reciprocal leadership

2018 ◽  
Vol 32 (1) ◽  
pp. 32-39
Author(s):  
Val Poultney ◽  
Jon Fordham
Keyword(s):  
Personal Reflection ◽  
Leadership Practice ◽  
Starting Point ◽  
Personal Domain ◽  
Ways Of Thinking ◽  
University Partnership ◽  
The Way

This article looks at the potential of using an online self-completing inventory that measures leadership consciousness awareness. The Consciousness Quotient inventory (CQ-i) has been developed to encourage leaders to be more conscious of their ability to be accountable and responsible for their leadership practice. The CQ-i as a method for researching leadership is piloted here between a university academic and a primary headteacher in the context of a school–university partnership. Pilot outcomes reveal that the inventory can be used as an evaluation of partnership work and ways of thinking about leadership on two levels: the personal and the partnership. The method is somewhat limited by a lack of distinctive criteria for personal domain statements and the absence of an overall profile outcome for the CQ score. Its strength lies in the way the outcomes of the inventory can be used as a starting point for personal reflection on leadership and as a vehicle for discussing a range of different ways of leadership working within different settings, such as school and university contexts.

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