The Mummy's Complaint: An Object-Biography of the Egyptian Mummies in New Zealand Museums, 1885-1897

<p>Recent years have seen a revival of interest in material objects in the humanities generally, and in Museum Studies in particular. Although the influence of this 'material turn' is still in its early stages, one of the manifestations of the renewed interest in the 'life of things' has been the growth of interest in Actor-Network Theory, a branch of sociological analysis which attempts to reconstruct the networks of agency through which social existence is created and maintained. One of the more controversial aspects of Actor-Network Theory (or ANT) is its willingness to concede a level of agency to non-human and inanimate actors in these 'assemblages'. For Museum Studies, the relevance of this theoretical framework lies in the analysis of museums both as assemblages in their own right, and as actants in a network of other sites, institutions, technologies, ideologies, and objects. Museum objects, long viewed as inert, can be seen instead as participants in the 'shuffle of agency' that constitutes institutions and inducts them into wider patterns of social activity. This dissertation uses the case study of Egyptian mummies in New Zealand museums to gauge the usefulness of an ANT-based approach to writing the 'life-history of objects'. Borrowing the concept of the 'object biography' from Kopytoff and Appadurai, it attempts to construct such a history of the five complete Egyptian mummies in New Zealand’s public museums. Using the principles of Actor-Network Theory, it attempts to trace the ways in which mummies have been constituted as 'meaningful objects' through the examination of the ways in which they have moved through different assemblages, both globally and within New Zealand, during the twelve years from 1885 to 1897. This was the period during which all five Egyptian mummies entered New Zealand collections, traversing networks of imperialism, scientific knowledge, religious knowledge, and exchange. In the course of their movement through these diverse assemblages, the meaning of mummies – inside and outside the public museum – could be construed in radically different ways. This dissertation considers the usefulness of such a methodology for Museum Studies and Material Culture Studies, and considers the potential benefits and pitfalls of writing about assemblages for those who want to consider the life-history of objects.</p>

The Mummy's Complaint: An Object-Biography of the Egyptian Mummies in New Zealand Museums, 1885-1897

<p>Recent years have seen a revival of interest in material objects in the humanities generally, and in Museum Studies in particular. Although the influence of this 'material turn' is still in its early stages, one of the manifestations of the renewed interest in the 'life of things' has been the growth of interest in Actor-Network Theory, a branch of sociological analysis which attempts to reconstruct the networks of agency through which social existence is created and maintained. One of the more controversial aspects of Actor-Network Theory (or ANT) is its willingness to concede a level of agency to non-human and inanimate actors in these 'assemblages'. For Museum Studies, the relevance of this theoretical framework lies in the analysis of museums both as assemblages in their own right, and as actants in a network of other sites, institutions, technologies, ideologies, and objects. Museum objects, long viewed as inert, can be seen instead as participants in the 'shuffle of agency' that constitutes institutions and inducts them into wider patterns of social activity. This dissertation uses the case study of Egyptian mummies in New Zealand museums to gauge the usefulness of an ANT-based approach to writing the 'life-history of objects'. Borrowing the concept of the 'object biography' from Kopytoff and Appadurai, it attempts to construct such a history of the five complete Egyptian mummies in New Zealand’s public museums. Using the principles of Actor-Network Theory, it attempts to trace the ways in which mummies have been constituted as 'meaningful objects' through the examination of the ways in which they have moved through different assemblages, both globally and within New Zealand, during the twelve years from 1885 to 1897. This was the period during which all five Egyptian mummies entered New Zealand collections, traversing networks of imperialism, scientific knowledge, religious knowledge, and exchange. In the course of their movement through these diverse assemblages, the meaning of mummies – inside and outside the public museum – could be construed in radically different ways. This dissertation considers the usefulness of such a methodology for Museum Studies and Material Culture Studies, and considers the potential benefits and pitfalls of writing about assemblages for those who want to consider the life-history of objects.</p>

Spolia in Byzantine Art and Architecture

This article discusses the use of spolia in Byzantium from the fourth to the fifteenth centuries. The varied practices of reuse are analyzed by presenting examples from sacred and secular environments, ranging from monuments in Constantinople (serpent column, obelisk) and Nicopolis (ambo) to architectural fragments and sculpted reliefs in fortifications (Nicaea) and churches (Skripou, Merbaka, Little Metropolis Athens). Some twenty possible motivations for reuse are proposed. The problems of establishing precise meanings and the changing meanings over time are addressed. Finally, the article suggests some future directions for research, including object biography and an aesthetics of spolia.

An ethnography of deletion: Materializing transience in Solomon Islands digital cultures

This article demonstrates the fragility of digital storage through a non-media-centric ethnography of data management practices in the so-called Global South. It shows how in the Lau Lagoon, Malaita Province, Solomon Islands, the capacity to reliably store digital media is curtailed by limited access to means of capital production and civic infrastructures, as well as a comparatively isolated tropical ecology that bedevils the permanence of all things. The object biography of mobile phones, including MicroSD cards, typically short, fits into a broader historical pattern of everyday engagements with materializations of transience in the Lau Lagoon. Three types of visual media are exemplary in this regard: sand, ancestral material cultures and digital visual media (photographs and videos). Ultimately, Lau experiences of transience in their visual media are located in their visual technological history and the choices they make about which materials to maintain or dispose of.

The Literary and Legendary Lives of the Onoe Bell

During the eighteenth and nineteenth centuries, a large eleventh-century bronze bell made in Korea became a grand attraction on the grounds of Onoe Shrine in Kakogawa, Japan. Although such bells are made of expensive material that require significant financial investment and technical skill, most are overlooked as common fixtures inside bell towers at Buddhist temples across Asia. Yet the bell at Onoe Shrine has a particularly complex and fascinating story to tell. Using object biography as an approach to study this unusual monument enables us to see how this bell became the popular subject of legends, travel-diary accounts, gazetteer entries, popular woodblock prints, and souvenirs made in a variety of materials. The bell's legendary life story accorded it the ability to solve human problems and use its voice to demand where it should be located, which fueled people's desire to see it with their own eyes and to make physical contact with it. This examination of the bell's intertwining life tales reveals how, after initially serving as a ritual object at a Korean Buddhist temple, it experienced dramatic transformations into a high-value export (or trafficked) commodity, Japanese poetic trope, shrine treasure, and tourist draw.

A collection and its many relations and contexts

PurposeThe purpose of this paper is to report the results of an ethnographic study that used object biography with an archival collection of police surveillance files, the Police Historical/Archival Investigative Files, housed at the City of Portland Archives & Records Center in Portland, Oregon.Design/methodology/approachDocument analysis, participant observation, semistructured interviews, and object biography were conducted over four years, from 2013 to 2017.FindingsUsing object biography with the Police Historical/Archival Investigative Files uncovered numerous personal and public relationships that developed between people and this collection over several decades as well as how these records acquired, constructed, and changed meanings over time and space.Originality/valueThis paper argues that the biography of objects is a useful way for studying the relationships records form, the values people assign to them, and how people and records mutually inform and transform one another in shifting contexts of social lives. Recognizing records as having social histories and applying object biography to them contributes to and grows the greater biography and genealogy of the record and the archive—a genealogy important not only for discovering something about the lives of those who create, encounter, steward, and use records and archives but about our shared human experience.