Visual Anthropology Research Papers

The Material-Cultural Turn: event and effect.

by Dan Hicks

2012, The Oxford Handbook of Material Culture Studies

Fig. 2.2 ‘Zulu wooden vessels from the Museum of the Berlin Mission’, from Ratzel 1897 (vol. 2), p. 413.

Fig. 2.4 ‘Close up of the butchering area at the Anavik Springs site [Alaska] showing the circular areas in which the caribou were dismembered and the location of the waste by-products’, from Lewis Binford's In Pursuit of the Past (Binford 1983: 123, figure 61).

Fig. 2.5 ‘Artefacts from the Lozi Area [western Zambia]. Wooden bowls (mukeke wa kota), spatula (foreground) and spoon (centre), knife, “A” basket and "B” pot’, from lan Hodder's Symbols in Action (Hodder 1982: 112, figure 50).

Fig. 2.6 ‘A complete set of paddles and anvils’: from the ‘Detailed description of pottery manufacture’ in the Malwa region of central India in the Appendix to Daniel Miller's Artefacts as Categories (Miller 1985, figure 55).

Fig. 2.7 Examples of 1980s British and Swedish beer cans, from Michael Shanks and Christopher Tilley's archaeological study of ‘the design of contemporary beer cans' (Shanks and Tilley 1987a: 178, figure 8.4).

Fig. 2.8 lan Hodder's model of ‘Associations of the domus and agrios in [Neolithic SE Europe’ (from Hodder 1990: 68, figure 3.5).

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Bodies of Lenin: The Hidden Science of Communist Sovereignty

by Alexei Yurchak Алексей Юрчак

"Representations", N. 129, Winter 2015. The essay analyzes the project of maintaining the body of V. I. Lenin in the Mausoleum in Moscow for the past ninety years, focusing on the unique biological science that developed around this... more

of the body change and even actively substituting it with new materials. I will refer to the research institute that has conducted this work as the Mausoleum Lab or the Lab, as the scientists call it, although in fact it consists of several labs and scientific groups. The actual activities of this research institute today, as in the past, are disguised behind a euphemisti- cally cumbersome name: “Center for Scientific Research and Teaching Methods in Biochemical Technologies” (fig. 1).? The Lab has worked to preserve the dynamic form of every part of Lenin’s body, including parts that have never been visible to the public or intended for display. Scientists have maintained not only the features of Lenin’s face but also the shape of his heels, the pigmentation around his armpits, the strength of hair attachment on his chest, and the flexibility of his knee joints, for example. What bodily preservation amounts to in this case is different from that in other cases of preservation, both natural (bod- ies preserved in permafrost, ice, salt, sandy soil) and artificial (bodies sub- jected to mummification, cryogenics, plastination).° In these other cases the form of the body changes in multiple ways: mummified bodies dry up, stiffen, change color, become unrecognizable; frozen and plastinated bod- ies may preserve their external appearance but lose flexibility and elasticity. Unlike those bodies, Lenin’s continues to maintain its dynamic form, which includes but is not limited to its external appearance. This means that the

eee The extraordinary results of this project have never been known to the public; in fact, they have been actively hidden from public view. Visitors to the mausoleum see Lenin lying in a glass sarcophagus dressed in a dark suit; only his head and hands are uncovered and visible (figs. 2, 3). They never learn that the body’s joints remain flexible, the internal pressure of its skin is maintained, and its invisible surfaces are painstakingly and continually re- sculpted. No one has ever been able to appreciate these extraordinary achievements. No one, that is, with the exception of a small group of scien- tists and state leaders.

Why has Lenin’s body been maintained in this way? What is the signif- icance of the effort to preserve its dynamic form and not its biological flesh? Why have its invisible parts been maintained with such precision? What kind of science has emerged around the project, and why have its remarkable results been kept secret? To answer these questions we must understand the

FIGURE 4. Effigy of Charles II (d. 1685), wax and wood. Westminster Abbey Museum.

jostled with each other for the position nearest to it, practically ignoring the corpse of the king’s real body.®® The latter “lay naked in the coffin, while the effigy was attired in royal robes, crowned with an imperial crown, and holding the sceptre and hand of justice.””° At that moment the effigy represented the “king in splendor,” in contrast to “the mortal remains” of the dead king, which had lost much of their relevance.’! Proximity to the effigy symbolized a closer connection to perpetual sovereign power as such. But after the king was buried and the next king crowned, the king’s two bodies became once again reunited in one living body; the effigy could no longer be publicly displayed and was usually hidden in the royal crypt or a distant abbey.”

But is the theory of the king’s two bodies relevant to the Soviet political system? This question should be divided into two. First, is this theory unique to Western European monarchies, or have comparable theories emerged elsewhere? Second, when the absolutist monarchies in Europe were disman- tled by modern revolutions or reforms, did this doctrine survive in some altered form, and if so, how might it be manifested today?

FIGURE 7. Letter from L. P. Beria to V. M. Molotov describing the disappearance of a piece of skin from the back side of Lenin’s right foot, with a one-to-one scale drawing of the missing piece. March 9, 1945. RGASPI, f. 16, op. 2s, ed. khr. 56, str. 120-21.

FIGURE 8. A bank of “experimental objects” in the institute on Krasin Street. Photo from I. B. Zbarsky, “Ot Rossii do Rossii,” in Pod “kryshet” Mavzoleia, ed. E. E. Zaitseva.

level of form the body appears during examinations as authentic and unchanged, a perpetually regenerating body, not a stiff corpse. (Recollect the kings’ effigies with their flexible torsos, moving limbs, and bending joints.) In these examinations, reports, and procedures, the gaze of the polit- ical regime sees a body that transcends the public space of ideology and the role of a popular propaganda symbol. This is the immortal body of Lenin— the body-effigy that is constantly emerging, inhabiting a perpetual sovereign unfolding.

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The Temporality of the Landscape Revisited (with replies by Ingold, Olivier and Edgeworth)

by Dan Hicks

2016

This is an essay about the connections between the passage of time and the condition of archaeological knowledge. It revisits Tim Ingold’s 1993 paper ‘The Temporality of the Landscape’, considering its relationship with the... more

Fig. 1. Pieter Bruegel the Elder’s The Harvesters (1565). (OASC on www.metmuseum.org ,

Plate 1 The Harvesters (1565) by Pieter Bruegel the Elder. Reproduced by permission of the Metropolitan Museum of Art, Rogers Fund, 1919 (19.164).

Fig. 3. Photograph of open area archaeological excavations for the A435 Alcester-Evesham Bypass, Warwickshire, August 1993 (photograph: Dan Hicks). the development of state control of the past, modernist regimes of urban and rural plan- ning and the industrialized construction industry. Archaeologists document the land- scape through writing, drawing, photography and collecting, transforming material traces into the archaeological record. We draw maps and survey the landscape; define sites and features as fixed forms. Our work is not inhabitation but labour. Our taskscape can be loudly heard, in the roar of the 360 exca- vator engine, the click of the camera shutter or the sound of steel tools striking stone. We engage not in wayfinding or dwelling but in creative destruction, or the mitigation of era- sure through roads or housing estates yet to be built. We understand environments not as always ongoing, but as subject sometimes to interruption, intervention and loss. Time for us 1s not an inherent quality of landscape, but a creation that makes periodization, sequence and understanding of the past possible. Less

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Why Are Our Pictures Puzzles? On the Modern Idea of Pictorial Complexity

by James Elkins

1999

This is the entire book. "Why Are Our Pictures Puzzles?" is an attempt to understand why scholars have begun writing at such tremendous length on individual pictures. Before the 20th c., one of the longest texts on a single painting... more

of art written in the West before the nineteenth century, those written about the Western tradition but from outside Western Europe and America, and those written in China, Persia, and India before or beyond the influence of Western art history.** Those experiences brought home, as no others could, the oddity and mannerisms of our own writing.

example, is bound up with Dutch society, and nineteenth-century French realism has become a vexed term, mingling political meanings with psychological and phenomenological constructions of the word “realism.”” No contemporary art historian writing for a major journal can afford to simply praise a feat of naturalism without finding another register of meaning that somehow contains or explains the painter’s feat or the historian’s attraction. Gombrich’s lifelong investigations into perception and representation are the closest to a premodern interest in the techniques of realism, but they are not addressed to artists and patrons (as Vasari’s comments were).° Rather they are couched in terms of a larger history of Western illusion and a broad theory of resemblance and representation. From our perspective; Vasari’s ekphrases seem charged with unexamined assumptions and ineffectually concealed motives; and conversely, our own interest in the naturalistic building-blocks of pictures is expressed in terms of many other phenomenological, allegorical, political, and psychoanalytic interests. Our aversion to mere description, or to the apparently simpleminded praise of illusion, shows itself in the unexpectedly large bibliographies that have grown up around some arvvariudart anhiacta T haxa mantinnad unndnusa tahlac and uralla: and T usrant tn cnand a In past centuries the issues were much simpler. In Greek ekphrasis as in Renaissance art theory and historiography, commonplace objects such as faces, figures, buildings, streets, and landscapes often caught the commentator’s eye for their verisimilitude or the skill they revealed. Vasari is full of praise for well-painted streets, arcades, wells, towers, windows, chairs, and beds. In the twentieth century that practice is nearly extinct among art historians and critics, having been overtaken by more self-reflective and metaphorical observations. We are no longer concerned with skill or talent per se, and we are only interested in the machinery of naturalism as it pertains to ideologies of the image—the Dutch sense of naturalism, for

sictiaceitahad MR Maa! — ei I aaah Whatever Foucault’s essay accomplished for its generation, and whatever it continues fo mean, it remains inadequate to read it as an argument about epistemology that turns on 1 seventeenth-century painting.'” It is also about a certain sense of painting in general, and what interesting painting might be. I mean that both in an historiographic sense— since it is possible to argue that Velazquez intentionally made the most complex painting ne could—and in a critical sense—in that a certain version of the painting’s complexity ‘possibly not congruent with its complexities as Velazquez may have understood them) continues to be important for current scholarship.'* Snyder is correct in saying Velazquez constructed an intricate perspective, but

baw Often enough, art historians build meanings according to informal rules of connectedness and coherence that are not at all incommensurate with this picture-puzzle model, but they terminate analyses without saying how they know they have found and assembled all the pieces. Settis enumerates thirty or so iconographically significant features of the Tempest, and together they constitute his complete “jigsaw puzzle” (plate 11). He names the man, the woman, the child, the stream, the man’s staff, the city, some details of its construction, the broken column, the lightning and storm, the bridge, and— most contentiously—a small wormlike form in the foreground, which he says is the snake from the Garden of Eden, slinking back into the earth.

declared that Pollock would never paint in such a manner. He detached several vertical strips, transposed them, and revealed the correct solution.'* Springbok’s Convergence, No. 10 differs from the German panoramic puzzle in that the pieces interlock, even though there may be some uncertainty in any given case. Metaphorically speaking, Convergence, No. 10 has some structure to its indeterminacy, as if parts of an interpretation might cohere, but have indeterminate relations to other parts. In the other case almost any two meanings might go together.

Puzzles are the first of the three models of meaning I am going to explore in this book; the second is ambiguity. The models intersect with one another (in some cases, they are certainly “layers”), and in this instance each of these puzzles implies a different sense of pictorial ambiguity. The first—puzzles that have double meanings, clearly distinct from one another—corresponds to ambiguity in the logical sense, where a picture may seem to mean two contradictory things. Renoir’s Woman at the Piano might be about music and light, or it may be about Panama and Poland. The two jar with one another: they are not opposites, exactly; but they are as close to logical antipodes as it is possible to get in painting.

there are also pieces that strictly follow the picture’s contours. A woman’s silhouette cuts across the fir tree, spanning half its width and also taking in some of the sky to its right. Just behind her is a form-fitting piece that follows the tree but also her head. The puzzle is an intermittently random imposition of pictures and figures on a single large picture. Some pieces repeat the shapes of the Zhe Approaching Ship, and others are scattered about by the puzzle makers so that they are spread evenly throughout the picture, without attention to how they overlap depicted forms. Wes: Sie: ey SO re ee ce ce ies ces: es es an a ae Ee ce es Be i cc a rE ees aaa

Modes of reading are decisively affected by the absence of the fabula. Having gotten the elements of the story from the three episodes, an interested viewer will return to see more: the painting gives away enough information at first so that it becomes a puzzle. But it is bound to be disappointing, except to admirers of Beckmann, that the puzzle hits a dead end so quickly. We might look to the organ grinder surrounded by angels in order to see if there might be a connection between that promised vision and the transcending energy of the center scene. But he is inscrutably double: part of him is Celestial since he is surrounded by angels, but part is impotent and fragile, even perverse. To one author, he is “the evil demiurge who has created the world and oppresses mankind”; to another, he is powerless but inaccessible Fate; and to a third, he is the Harper from Goethe’s Wilhelm Meister.'° If God is a blind beggar, then the center scene will indeed propel us back to the flanking ones; if he is anonymous Fate, then the child’s wild rocking might augur well for the future.'' The slow spread of ambiguation is a daunting challenge for an iconographical approach, despite the richness of Beckmann’s mythologies. Clifford Amyx’s book The Iconography of the Triptychs is an exercise in disillusion; at one point he concedes that ambiguity itself is the principle by which the paintings have to be understood.'* There is broad critical consensus on the impossibility of finding what I have been calling the fabula, even in The Beginning where the subject is so clearly autobiographical, and recent accounts have become reflections on the failure of

four (as in this painting), then just two.”° Especially to people who have seen the earlier pictures, the paired bursts look like signs, reduced to their most universal common denominators, as if the paintings denote life and death, or old/new, stasis/time, or perfection/corruption. For some viewers they harbor more specific meanings, such as eye/body, sun/land, or car light/street. One contemporary critic thought they represented the Yin-Yang opposition; H.H.Arnason thought they stood for “order and chaos”; and Dore Ashton proposed they denoted earth and sky.”’ Any interpretation, or no distinct interpretation, will do. Nothing internal to the painting tells us which shape is most important, or which interpretation closer to Gottlieb’s intention. Gottlieb himself vacillated between a doctrine of “meaning in terms of feeling,” where nothing more could be said than that the burst: were “intangible and elusive images,” and a doctrine of dualities, where one side represents an “urge toward serenity and peace” and the other an inclination towarc nervousness and energy.”® The first would not be open to Empson’s analysis, since it is < holistic approach (it would also be immune to the picture-puzzle model). But the seconc is already a type-1 ambiguity, since Gottlieb doesn’t say whether “serenity” or “peace” is more important, or which one matches with nervousness. In other interviews he compounds the same difficulty, saying the bursts represent “opposites like black anc white, night and day, good and evil.””’ Inevitably, it comes to seem as if duality o1 polarity is itself the subject, just as Empson makes Shakespeare’s line into a meditatior

After a short introduction on ambiguity itself—which I am deferring until the next chapter—Steinberg begins by studying ambiguities about the moment depicted in the painting. His double position is that the single moment is foo easy to depict, and that modern “positivistic” thinking and Goethean dramaturgy have led us to expect a single moment, so that we may even be incapable of registering a painting that shows us several moments at once. The earliest copy of the painting is captioned “One among you will betray me” (plate 25). Even if the copyist was right, “unus vestrum” (“one of you”) implies not one moment but two: the one in which Jesus spoke, and the one immediately following when the Apostles reacted. Clearly, the painting may be either the second, or both, even if it cannot be only the first (plate 26). A closer look shows an interesting symmetry between Judas’s left hand and Jesus’s right hand: they flank a bowl from opposite sides, without touching it. That configuration implies a further moment: when the apostles ask who will betray him, and Jesus replies “he that dips his hand with me in the dish” (or else, as in Luke 22:21, when he says “the hand of him that betrays me is with me on the table”). That is three possible moments, the first two of which may

Steinberg collates the opinions of several writers, and decides that the first two moments are clearly present in the painting, despite an “avalanche of positivist rationality” that tried to reduce the theme to the moment of betrayal (301). But there is no clear trajectory from Renaissance multivalence to modern certainty, since even the earliest copy omits the dish. Raphael’s version, engraved by Marcantonio Raimondi, “silences” Jesus, in order to ensure that the scene depicts the second option, when the apostles react to Jesus’s initial statement (plate 27).

These problems occupy the first two chapters of the book-length article. Each ambiguity builds on the last, increasing the difficulty of the whole. Next is the question, If Leonardo did not confine himself to one scale, or to one instant, did he at least show a single subject? The two principal alternates are a “psychological drama” of the Last Supper and a “mystic theology” of the Eucharist. If it is a Eucharist, the painting would represent the moment when Christ said, “Take, eat, this is my body,” and was about to say, “Drink ye all of it, for this is my blood”—or, in parallel with the choice of moments in the Last Supper, Leonardo may also have intended the moment just afterward, when the apostles reacted. There is something mystical about the composition of the scene, both in the way that “Christ’s outspread arms initiate a forward directional flow that continues, under the drop of the tablecloth, in two orthogonal floorlines in front of the table,” and also in the concatenation of Christ’s left hand, Thomas’s doubting finger, and James’s hand outspread in wonder, which together suggest the mystery of the Eucharist “as if in a rebus” (229, 330). Most people who have analyzed the painting in pictures or in words tend away from the more mystical, holistic answer, preferring to read the painting as a “psycho-drama” comprised of separate moments.

The apparition would certainly have been unexpected, and it would have been representationally complex: as Steinberg says, the central stripe would have been “an actual vertical, representing a horizontal, which in turn stood for a vertical” (346). Most copies omit the floor stripes, and Steinberg proposes that viewers unconsciously resisted the apparition of the crucified Christ because it would make the painting inassimilably complex. Not so for Leonardo: “faced with the choice between psychological drama and mystic theology,” Steinberg writes, Leonardo “embraced both” (337). It might seem that all this is enough to pronel us into Emnson’s fourthtvne ambicuitv.

A complement to “meaningless” poesie are “poetic” meanings—Subject paintings by nature so diaphanous that they appear as Not—Subject. Calling the Tempesta a painting of music or poetry is an example of this, and several of Botticelli’s pictures are built around especially silky primary meanings. The principal theories regarding Botticelli’s sources are fewer but no less embattled than the alleged sources for Giorgione’s poesie.*! Since Neoplatonism—an undoubted source, among others that are less widely accepted— is syncretic and synthetic, its meanings tend not to contradict one another; but neither do they reliably add to produce a single central meaning. (Neoplatonic meanings have also been proposed for the Tempesta, with similar effects.) To the extent that they embrace Neoplatonism, the proposed sources for the Primavera do not conflict or build, but blend and alternate. They tell a story of commingling meaning (plate 31). The painting is an unambiguous Subject since it is about the spring, Primavera, but its blending of ancient and Renaissance texts prevents it from being perfectly unequivocal.

The self-contradiction of monothematic readings and the point-by-point contradictions between alternate readings, are two kinds of evidence that the Sistine Ceiling is an ambiloquy. To pursue the hypothesis it would be necessary to describe how and where Subject yields to Anti-Subject, or unambiguous ordering yields to indeterminate o1 indifferent ordering. But before such a reading can even get underway, it is hobbled by the realization that the Ceiling fails to present any clear (that is, reasonably unambiguous) division into parts, units, scenes, episodes, figures, motives or motifs, types, of sequences. Charles Seymour concludes his survey of the literature by remarking that “despite recent profound research it is not yet wholly certain how, in a more specific dogmatic or theological sense, all the various single elements of the theme relate precisely to each other”—but what, exactly, are the “single elements”?*’ Malcolm Bull begins an essay on the Ceiling by stating there are “about one hundred and seventy-five picture units” in the Ceiling; but depending on how a viewer counts, there may be 4

oward the specifics of Subject. One problem with reading Watteau as an Anti-Subject painter is that these strategies 1o not form a sequence that runs through his work, so that he could be observed as he liscovered each new way of avoiding the Subject. Much more often it appears that he was working with some subject that he simply did not care to specify. But what kind of subject could that have been? The féte galante, the subject “invented for Watteau,” was 10t unambiguously recognized by Watteau’s contemporaries as a genre. In the Royal Academy records, Watteau’s Le pélerinage a l’isle de Cythére is listed by name, but the 1ame is crossed out, and “une feste galante” has been put in its place.’ This document shows that from the very beginning Watteau could induce a vacillation on the subject of Subject. His position induced aporia then as now, and it is not too extravagant to say that 1e occasionally painted the idea of Subject, rather than Subject itself. And what would it mean to think of Watteau’s paintings as Not-Subject? It would

Michael Fried in reference to Courbet range from “corporal” self-portraits in, or as, ordinary-looking trees and rocks (that is, foliage, cliffs, and stones that do not especially ook like human forms, but stand in for them) to evocations of the painter’s body in fish, and his own viscera in flowers.” Hidden figures have also been seen in scientific images, such as the fighting dinosaurs and disappearing birds that E.N. Lorenz, the father of chaos theory, found in his computer printouts of new “attractors” (plate 40).° (Lorenz had he habit of adjusting the mathematics of his attractors so they played out dramas like oirds disappearing in bushes.) I find cryptomorphs historically puzzling, since they are found through-out the history of Western and Islamic art (but not in China, Mesoamerica, or India); and I find them epistemologically puzzling, since they are neither entirely false nor widely accepted. Since the field is so ill-explored, this chapter has several partly incompatible purposes: I will take up some questions concerning the history of cryptomorphs, and also a few of the problems attending the curious fact that no one finds it necessary to argue against them (almost as if they should disappear the same way they came—by fiat). I will also be pursuing a hypothesis about the place of cryptomorphs in the longer history of “chance” and “natural” images. But my principal interest is the behavior of the art historians who claim to find the images, and as I go through the material I hope the reasons for that bias will become clearer. Cryptomorphs, I think, are best understood as signs of a dire anxiety in the face of pictures. Finding something that seems to demonstrate itself may be a way of short-circuiting what is truly disturbing about pictures, and making them into merely surprising tricks: a possibility that I want to take as seriously as I can, both here and in the final chapter.

tendency to bring images “out” of their inchoate matrices in the material. Occasionally a “random” mark will be enough to serve as an image without being improved or completed. Picasso’s Crucifixion (1930), an important painting that inventories a number of his previous styles, has a prominent asteroid-like sponge in one corner: one of Picasso’s few gestures in the direction of chance images (plate 41). It is an unusual image, since it represents the natural object that could have helped make it. It is at once an aleamorph, an unlikely sun, and a painting of the Biblical vinegared sponge; and like Ugo da Carpi’s painting “made without a brush,” it cites the acheiropoietic images made in the middle ages.'” Aleamorphs mingle two possibilities that can be entirely disjunct: either hidden images are seen in objects, or they are placed there. The discourse is further confused by the permutations of natural and human agency: Nature or people might do the placing, and likewise the objects in which things are seen may be natural or artificial. Without disturbing that conceptual disorder, I would like to bring out the difference between “seeing in,” as Richard Wollheim says, and hiding. Aleamorphs are sighted, “seen in,” and afterward they may also be “brought out” (in the language of the studio). We might prefer to say classical aleamorphs are created by being seen, and that clarifies what I take to be an essential distinction between aleamorphs and other kinds of hidden images: aleamorphs are neither painted nor sculpted. A pure aleamorph is acheiropoietic, an image not made by human hands. By contrast, a pure cryptomorph is made, and then seen.

tiny scene of the crucifixion, visible through the curtains at the upper left—another window on the same theme of transitory life and eternal redemption. Hiding and revealing, seeing and seeing-in, are all at play in the more interesting anamorphs. As the scatological scene becomes visible, Jonah and the Whale (a scurrilous metaphor for the body’s evacuation) disappears, and when the skull is visible, the French Ambassadors Making this slightly artificial distinction helps suggest a conceptual sequence leading from aleamorphs (which are merely seen) to cryptomorphs (which are imitations of aleamorphs). The conceptual sequence entails an historical sequence, and to introduce it I want to bring in a third term that is “between” aleamorphs and cryptomorphs: anamorphs. In the sixteenth and seventeenth centuries anamorphs were the most common kind of hidden images. Anamorphs (meaning “without form’’) were images made with the help of perspective (or with knowledge of perspective, but without its rules), so that they could only be seen from certain skewed viewing positions. The stretched skull in Hans Holbein’s French Ambassadors has become the classic, overinterpreted example. An image from a few years later, Erhard Schén’s Was siehst du? (What do you see?) shows—apparently—a few marginal scenes, including a small Jonah and the Whale, around a central smear (plate 42, top). It turns out that the smear is a man defecating. To see the picture a viewer needs to adopt an uncustomary position, putting an eye close to the left-hand border of the picture. Anamorphs are full of wit about the displacement of the viewer, and humor at the viewer’s expense; in this case a viewer who bends and squints to see that’s in the picture may also sense a parallel between his pose and the pose of the figure in the print. Nor is it irrelevant that the form of the scene mimics its subject, since the smear is itself scatological. Schén’s companion piece, titled Aus, du alter Tor! (Out, you Old Fool!) is pornographic, and we bend and squint to see it, as if we were looking through a keyhole. Often anamorphs contain a third and final moment, after the initial confusion and the subsequent enlightenment, when something new reveals itself. In this case a viewer who returns to a more normal viewing angle will be likely to search for the distorted figure, and notice the goat just behind him, rearing in surprise or disgust. In The French Ambassadors, the final moment may be the one when a viewer discovers the

“Hidden Pictures” made popular in Highlights for Children magazine—and the half- assent that results if we agree to suspend a nagging disbelief that a hidden image exists— as in the Michelangelo or the Leu.”° Castelli defends his half-visible discoveries by appealing to depth psychology (Tiefenpsychologie): an artist, in his view, can be accomplished and in full control of his work and still produce a monster, an “unconsummated symbol,” which is the true expression of the unconscious.”’ Since those symbols need not obey the conscious criteria of legibility, form, and technique, they might well be difficult to see. But the tiefenpsychologische approach also opens the door to any half-hidden form.

ing: and at the worst, they overwhelm the pictures with inappropriate visions of Rom togas and romantic scenes of the Campagna. Such cryptomorphs are not meant to be fu seen: they take their power from their vagueness, like the spectral figures in Beckett’s Seen Ill Said that never quite come into focus—and are all the more memorable for it.” Cryptomorphs whose forms are close to what a picture already seems to depict are | insidious. By the nature of the moving body, Pollock’s gestures are a little like figur and by the nature of sunsets Rothko’s glowing fields are something like clouds. TI similarity—which is almost a strange camouflage, with the object hidden behind version of itself—lets the manifest and the hidden coexist with minimal dissonance. If stones in this image from the fourteenth-century Book of the Marvels of the World ¢

little faces, then that is consonant with the fecund nature that actually does sprout faces in other paintings (plate 57). Some of the rockforms in this fifteenth-century illustration (plate 58) may well be faces, especially the ones near the

common with the manifest image. The cryptomorph is a true vision, not bound by the everyday rules of camouflage.) On occasion it is possible to argue against a cryptomorph by noting the part played by the medium itself. Just as a sponge or a rag soaked in paint will produce certain characteristic forms that cannot be cleanly controlled, so oil paint and other media are sometimes recalcitrant or unpredictable, and the simple act of making an image will produce unintended “hidden” images.’’ Y.Korshak has proposed that Van Gogh’s Crows in the Wheatfields contains a hidden Last Judgment (plate 62). She identifies the dove of the Holy Spirit (represented by the triple tines of the wheatfield paths, with the head and beak delineated by the middle path) and an angelic trumpeter (riding a bright cloud, trumpet in hand, to the right of the center). Yet the trumpeter is scarcely four brushstrokes in all, so it might well have been inadvertent. To argue otherwise would be to impute to Van Gogh an implausible control of his expressionist technique; as any painter knows, the viscosity of the paint and the speed of the brush make it nearly impossible to control or avoid forms of this kind. Unwanted forms often appear in the course of paint- ing, and artists frequently have to erase unintended shapes that other people see in their pictures. Korshak’s angel trumpeter is probably an aleamorph, seen in “random” marks. Unfortunately these kinds of argument don’t help with the majority of cryptomorphs. (And they do not offer a way of refuting Korshak’s identification of the dove of the Holy Spirit.) Because simple claims, such as the sighting of a single hidden figure, can engender complex counterarguments, it can be very difficult to argue against even the simplest sighting of a cryptomorph. In 1990, Frank Meshberger, a doctor with an interest in art, reported finding a brain in Michelangelo’s Creation of Adam on the Sistine

VELIOUL LAL TOU Y Witt IVIIUMEIAUEELO S WOLKIIIS LUCULOUDS. 2. Michelangelo was in all probability not interested in anatomic forms that are n visible on the surface of the body. He left several anatomic sketches, each of superfici muscles.*° His interest in motion and contrapposto is well documented, and he 1 virtually no sketches of rigid “elevations” and “plans,” not to mention “sections,” whi were largely developed in later centuries.°° Combining the medial aspect of the rig hemisphere (a “section,” in the terms that nineteenth-century anatomists borrowed fro architecture) with a left lateral aspect (an “elevation,” employing the same terminology} 1s Dr. Meshberger suggests, is even more strongly anachronistic. So it could be said th his particular view of the brain is something that a nineteenth- or twentieth-centu observer might tend to see, as opposed to a way of visualizing the brain native to tl early sixteenth century. Plate 63 (right-hand view)

another (above and to the right of the peak of the largest house); Geist says they are labia and the hand is groping for them. Since the two forms don’t look like labia, Geist justifie himself by noting they also don’t resemble trees, bushes, or other landscape forms in th painting: as he puts it, their “presence in the landscape is difficult to justify from | geological, botanical, or horticultural point of view.” The reading is completed by : phallus on the horizon. The landscape in the Small Houses at Auvers is therefor hermaphroditic and anatomically disjointed: it has three legs, labia that lie on top of on another like pancakes, an erection sprouting from a thigh, and an unattached hand Geist’s reading is harsh and almost surrealist in its collection of misfitted anatomica parts, but even so it is difficult to argue against in light of the idiosyncratic sexual drama and throngs of suggestive forms in Cézanne’s early painting.’ Since Giorgione landscapes have been traditional carriers of half-hidden puns on the curves and rhythms f the body. Given Cézanne’s earlier work and the history of eroticized landscape, it may egin to seem as if the only way to argue against Geist is to urge that his psychoanalytic reoccupations are modern, or that they miss the meanings of Cézanne’s enterprise: but hose are weak objections, resting as they do on a sense of propriety and a “proper” or onventional interpretation of Cézanne.” Ss ee a i ee ee a ee ee, ee, ee. ee, ee ey ee, Sn ee ee, BR 2.

The moments in which cryptomorphs first appear would be particularly promisin subjects for a psychoanalytic inquiry. The “method,” as Freud said of Salvador Dali, “pure fanaticism”: the writer is no longer in control, since the images simply appear. | the essay “Lenin in Las Meninas” Geoffrey Waite says that the back of the painter canvas was decorated with a skull—that is, until the painting was cleaned in the 1980: Then the skull miraculously moved up a little, to another place higher on the canvas! Fir: it was on the middle section, and now it is on the top section.” I can almost imagin Freud reading that and nodding his head—after all, it is a textbook case of hallucinatiot linked with a repetition compulsion. Waite does not say anything about the moment whe he discovered either images: they were simply there to be seen. There are remarkably few stories ahont the mament when the hidden forme fir

last “explanation” I entertained was in Chapter 2, where I considered the possibility that art historians write in order to memorialize and promote a certain version of the past. Since then, I’ve been caught up in my descriptive project, concentrating on how writers have captured the meaning of pictures in specific instances. This coincidence of psychoanalysis, surrealism, and art history suggests a different tack. What if the cryptomorphic turn, and the complexity of contemporary art history in general, are echo- effects of earlier movements in art and in psychoanalysis? —| ee 11 x ye comer 4 ut

Yet I’m unsure about this explanation, for two reasons. The claim that psychoanalysis along with some analytic cubism and surrealism) spurred art historians’ propensities for 1idden images is a very general one, and so it is most persuasive when it involves exact yarallels between pictorial practices. Freud’s book on Leonardo is the best match, even hough it is decidedly odd both as psychoanalysis and as art history. Elsewhere the yarallels become less convincing. Art historians tend not to find the half-illegible nonsters Max Ernst hid in his paintings: instead they find eminently clear and nterpretable figures. Nor do art historians find images that turn entirely into other mages, the way that Dali’s “atmospheric apparitions” shift back and forth: instead, art uistorians find smaller images in larger ones. The half-visible forms in analytic cubist yaintings might be compared to the half-visible forms found by Ladendorf, Castelli, or Carlstrém: but cubist still lifes are typically made of obvious parts of things (the neck of 1 carafe, a fragment of a newspaper), and the cryptomorphic critics find uniformly lisfigured images.

to cause me anguish”: it seems that if any image is primordial in his imagination, this one is. But the excursus closes by saying that the analogy to the Angelus was clarified after yet another delirious phenomenon, the unexpected apparition of a set of china decorated in Angelus motifs—and that apparition is listed as number five out of six aspects of the “second secondary delirious phenomenon”: in other words, the structure closes on itself, bites its own tail.”

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Planning and Foucault: In Search of the Dark Side of Planning Theory

by Bent Flyvbjerg

2002, In Philip Allmendinger and Mark Tewdwr-Jones, eds., Planning Futures: New Directions for Planning Theory, London and New York: Routledge, pp. 44-62

In this paper we argue that the use of the communicative theory of Jürgen Habermas in planning theory is problematic because it hampers an understanding of how power shapes planning. We posit an alternative approach based on the power... more

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The aesthetics of hospitality – deconstructions of the "at-home"

by Andrzej Marzec

The paper discusses Derrida's concept of hospitality which perfectly describes the experience of loosing the sense of feeling at home and reveals the disintegrating entrance of the Otherness into a coherent home space. Jacques Derrida's... more

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Visual Studies

by Kevin G Barnhurst

Formal theories reveal a visual dimension underlying better-known picture theories. Patterns of elements such as lines, shapes, and spaces, along with their properties, generate emotional responses and follow visual styles in society. The... more

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Case Study

by Bent Flyvbjerg

2011, In Norman K. Denzin and Yvonna S. Lincoln, eds., The Sage Handbook of Qualitative Research, 4th edition, Thousand Oaks, CA: Sage, pp. 301-316

At the same time that case studies are widely used and have produced canonical texts, it may be observed that the case study as a methodology is generally held in low regard, or is simply ignored, within the academy. For example, only 2... more

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CARL GUSTAV JUNG: ARQUETIPOS, MÍSTICA E INCONSCIENTE COLECTIVO

by Adolfo Vasquez Rocca

2015, Redazione Rosebud –Critica, Scrittura, Giornalismo– Anno V, DUBLIN, IRELAND, – Febrero, 2014.

RESUMEN: La psicología analítica es la obra de Carl Gustav Jung y sus seguidores. También conocida como psicología de los complejos, el término aparece oficialmente en 1913 para designar una ampliación del psicoanálisis, razón por la... more

RESUMEN:
La psicología analítica es la obra de Carl Gustav Jung y sus seguidores. También conocida como psicología de los complejos, el término aparece oficialmente en 1913 para designar una ampliación del psicoanálisis, razón por la cual se la tiene tanto por una escuela de psicoanálisis como por una tendencia de la psicología profunda, según la expresión de Bleuler para caracterizar a toda psicología que parta de la hipótesis de la existencia de una psique inconsciente.
Carl Gustav Jung (1875-1961) era un joven psiquiatra ya reconocido por la profesión cuando asumió la defensa de la obra de Freud, tanto en los foros psiquiátricos como en su propia obra, iniciada en 1902. Su estrecha colaboración desde 1907 se rompería en 1913 a instancias de Freud, para quien los desarrollos Junguianos del psicoanálisis no resultaban acordes con su propia teoría. Atrás quedarán los años en los que Jung fue el presidente de la Asociación Psicoanalítica Internacional desde su fundación en 1910 hasta el inicio de la primera Guerra Mundial. Una época en la que se constituye y alcanza una dimensión internacional (Europa y Estados Unidos) el movimiento psicoanalítico nacido en Viena alrededor de Freud a partir de 1900.
Entre el inmenso legado de Carl Jung, aquel que ha pasado a la historia por sus teorías y métodos revolucionarios en el mundo de la psicología, hay un tema que sobresale y ha sido su herencia más duradera: La Teoría de los Arquetipos.
Jung busca e investiga a los arquetipos en las doctrinas de las tribus primitivas, en las doctrinas secretas esotéricas, en las religiones, en los mitos y leyendas, en los símbolos del Tarot, en las imágenes de la Alquimia y muy especialmente en los sueños, en los que se apoya para la psicoterapia.
Hay que empezar por decir que Jung pensaba que no venimos al mundo como una tabula rasa, no venimos ‘en blanco’ como planteaba Freud, el ser humano según Jung, ya nace con información y ciertas creencias: “no existe una sola idea o concepción esencial que no posea antecedentes históricos”. Estos antecedentes históricos llegan a nosotros inconscientemente, y otros los vamos aprendiendo por medio de mitos, leyendas y la experiencia.
Es fácil identificar diferentes tipos de patrones de conducta en los mitos y leyendas de las culturas antiguas, todas tienden a tener un mismo héroe y trama, tienden, básicamente, a repetirse. Esta continua repetición de historias con los mismos personajes y el mismo guión es lo que llamamos Arquetipos.
Dr. ADOLFO VÁSQUEZ ROCCA

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Visual Anthropology (Handbook of Methods, 2nd edition)

by Fadwa El Guindi

Definitive overview of visual anthropology methods

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TRASCAMARA: la imágen pensada por fotógrafos [Prácticas teóricas desde el lugar de la creación]

by Steve Cagan and

Trascámara puede ser leído como la amplificación en múltiples canales audibles de aquello que nosotros, los fotógrafos, susurramos —solos o acompaña- dos— cerca del visor de nuestras máquinas fotográficas. Este proyecto editorial,... more

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FRANCISCO VARELA NEUROFENOMENOLOGIA Y CIENCIAS COGNITIVAS DE LA ACCION ENCARNADA A LA HABILIDAD ETICA

by Adolfo Vasquez Rocca

2017, “FRANCISCO VARELA: NEUROFENOMENOLOGÍA Y CIENCIAS COGNITIVAS: DE LA ACCIÓN ENCARNADA A LA HABILIDAD ÉTICA”. Dr. Adolfo Vásquez Rocca. HUMAN RIGHTS IN THE MEDITERRANEAN | Monográfico E2017. NOMADAS – UNIVERSIDAD COMPLUTENSE DE MADRID. pp. [301-323 ]

Resumen: El presente artículo se propone dar cuenta del elusivo fenómeno de la conciencia desde la original perspectiva de la neurofenomenología de Francisco Varela, quien a partir de nociones tales como neuroplasticidad, enacción y... more

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"The Canon and the Mushroom: Lenin, Sacredness, and Soviet collapse" 2017

by Alexei Yurchak Алексей Юрчак

This essay focuses on a paradoxical transformation that happened within Soviet ideological discourse at the very end of perestroika, around 1990-91. The Party's attempts to revitalize Soviet ideology by returning to the original word of... more

Figure 1: “Lenin s nami?” (Is Lenin with us?) (S. Mosienko 1988, Moscow Politprosveshchenie) of the country according to a rediscovered “real” score by Lenin (the book on the music stand says “V. I. Lenin”).”°

Figure 3: “Bravo!” (S. and A. Faldin 1988).

Figure 4: Slovo Leninu! (Let Lenin speak!) (Chumakov 1990) The latter point was underscored by the use of a widely recognized photo of Lenin.” VUCLIL Iildlitid., Li LOiiill WEIS alive, LIC VWUUIU NILOVWV V¥ilal LU UU. In early 1990, the Plakat press of the Central Committee published a poster en- titled, Slovo Leninu! (Let Lenin speak!) (see fig. 4). The large red podium with the Soviet coat of arms and microphones on the image symbolizes the canonized and distorted discourse of Leninism, while “real” Lenin is sitting on the stairs under the podium, looking decidedly mundane in comparison. We cannot see what he is jotting down in his notebook, but we can see that he is doing this in his own hand. The latter point was underscored by the use of a widely recognized photo of Lenin.” Also in April 1990, the journal Kommunist unexpectedly changed the design of its cover (Wolfe 1993). For sixty-seven years, the journal’s cover remained the same, with its title printed in a heavy font of Soviet political publications, against a dull greyish background.** That cover was now rejected as a representation of canon- ized and distorted Leninism, while the strikingly different new cover represented real Lenin. The word KOMMUNIST on the cover was written in Lenin’ own hand™*

Figure 5a: left: Kommunist Journal, old cover, March 1990 Figure 5b: right: Kommunist Journal, new cover, April 1990 RVI DS ito LLINVILTINGI ali PV eSGt VVULING \LRAININETEEE LAA, LGALING AUEULU } The same transformation of dead Leninism into living Lenin was depicted on another poster from 1990 (fig. 6). Here Lenin has literally risen from the dead and is walking out of the mausoleum where his embalmed body used to lie. He is carry- ing a bucket of white paint, with which he wrote his signature farewell, “With com- munist salutations! “UPianov (Lenin)” on the fagade of the mausoleum, covering the formulaic word LENIN written in a heavy Soviet font.

Figure 6: “With communist salutations! V. UPianov (Lenin)” (Reshetov 1990)

Figure 7: “A scheme of V. I. Lenin’s wounds.” (Pravda, November 26, 1990)

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The Geography of Cinema – A Cinematic World

by Chris Lukinbeal and

2008

This book addresses questions surrounding the constructions of space, culture, society, identity and representation. The geography of cinema extends beyond the screen, director and audience, to include the wider industrial and political... more

The parasitic tendrils of a rapidly expanding capitalist economy transform men into drudges, laboring day after day in vast complexes of machinery and earthworks. The villages are now the provenance of women and children, as families become scattered across space. Railway tracks and highways cut across the landscape while planes fly in and out of cities: the movement of goods and people, commodities all, seems endless. Our introduction to the market places and resi- dences of the towns and cities is via an increasing number of angles — square fields, square houses — until at last the edifices of churches, office blocks and apartment buildings reach into the sky, the camera gazing upward in awe. The apartment houses are now so high they seem to loom, forcing the surrounding mountains to become a mere backdrop in comparison. The city lights up in neon as goods and people continue to flash across the screen. Within the city, advertisements crowd in, selling hair products and make-up; with the arrival of these First World icons natural sexuality gives way to artificial lust and longing. Individual movement is no longer a natural expression, but has become a regimented posture as bands of soldiers and young girls march through the streets. Ps : i a, a a a: ne ie, i e 5s a <; ee deat larnser AR exon

Figure 2. Breakdown of Financial Contributors to the Corporation for Public Broad casting, FYI 2001. The fundamental purpose of public telecommunications is to provide programs and services which inform, enlighten and enrich the public. While these programs and services are provided to enhance the knowledge, and citizenship, and inspire the imagination of all Americans, the Corpo- ration has particular responsibility to encourage the development of programming that involves creative risks and that addresses the needs of unserved and underserved audiences, particularly children and minorities.

online (Figure 5) is symbolic of this attention to the individual. It is composed from a series of facial close-ups; these are differentiated not only by gender, age, ethnici- ty and occupation, but also angle — the faces are turned in different directions. Despite this variety, however, the faces invoke a sense of common humanity, for, in each close-up, the eyes draw our attention — invoking a sense of interpersonal connection. The close-up draws us into the personal space of the subject being represented. We may all be unique by virtue of our differences; but this visual con- nection serves to remind us of our shared ability to think, feel and express (KRESS and VAN LEEUWEN 1998). In an era that encompasses both the explosion of commercial information enterprises and a consolidation of media empires, the role of public sector media becomes critical to a free, open, and informed society. ITVS holds the following values as essential to carrying out the organiza- tion’s work: Freedom of expression is a human right. A free press and public access to informa- tion are foundations of democracy. An open society allows unpopular and minority views to be publicly aired. A civilized society seeks economic and social justice. A just society seeks partici- pation from those without power, prominence, or wealth. A free nation allows all citizens forums in which they can tell their own stories and express their own opinions.

KET is a resource for lifelong learning ... a window, a pipeline, and a magic carpet carrying stu- dents of all ages to places they’ ve never been, introducing them to people they’ve never seen, and giving them experiences they otherwise would never have-thereby helping to raise the educational level of all Kentuckians and to empower them to take control of their lives.

Figure 1. A Scanner Darkly, the animated movie Richard Linklater’s filmic adaptation of Philip K. DICK’s novel about duplicity within duplicity, A Scanner Darkly, follows the plotline of the novel closely and ends almost identically. We are drawn to the duplicity outlined in the story between personal choices, corporate controls and state surveillance; and, we are particularly intrigued by the ways Linklater visualizes DICK’s so-called space opera. Our interests in this movie are in the way that Linklater deals with the larger socio- spatial contexts of drug use and addiction and the chimera of capitalist and government control over the culture of addiction.

In the following sub-sections of the paper we look through the lens of Deleuzian theory at the ways Linklater visualizes the spatiality of DICK’s portrayal of individual and societal paranoia and schizophrenic delusion. Our hope is that doing so provides clarity and insight into the varied social and spatial relations between cultures of addiction, corporate greed, and state surveillance that we address. DELEUZE’s philosophical work is, in itself, a theoretical and philosophical technol- ogy we play and work with to illuminate the ways socio-spatial relations are con- nected to drug addiction. The end point of this experiment may very well be — to paraphrase Bob Arctor — to show that what we know about this film and these subjects “is very little, and often we get that fragment wrong.” That said, we end the paper with some speculation (and hope) by returning to the emancipatory socio- spatial contexts that the notion of recovery offers and suggesting that A Scanner Darkly depicts both an illness as well as a remedy to some of neoliberal capitalism’s aAvnRnaAdjaaa

DeINS CAPlessed I and UlNOUST We MUNG, DOGY, lalMiuy, and sOCICLly. In contrast, DELEUZE and GUATTARI (1987) celebrate the nomadic tendencies of schizoid bodies for their continuous mind-body movements, creativity, produc- tion, and activeness in the formation of body, society, and space. They develop, in a partial and experimental way, an ethical discussion on drugs in relation to schizoids by arguing that drugs impose themselves on the interior spaces of the body-location: where inner desires are produced and extend outward. Because it surrounds the ethical conceptualization of the schizoid body engaged with drug therapy, what we are concerned with here is how drug therapy works to suppress the body’s own production of desire (vitality). DELEUZE and GUATTARI argue that psychoanalytically motivated drug treatment for schizophrenia often leaves in its wake a completely de-territorialized body or social space. The total collapse of subjectivity, or complete de-territorialization, leads bodies to passive, non-active or non-affecting states with other bodies and spaces — ‘social catatonia.’ Catatonic spaces / bodies imagined in this way are unable to produce anything real or lasting without the external aid of drugs. What becomes exceedingly important, is not so much the qualitative differences between drugs or drug using bodies, but the effect drugs are having on body-to-body and body-to-space relations.

Figure 5. Arctor’s scramble suite morphs for a second into Phillip K. DICK Schizophrenia is not only embodied in the scramble suite, it is prescribed by Arctor’s job as a narcotics agent known as Fred. Later, when in recovery from Substance D, Arctor is known as Bruce. His boss, known in his scramble suit as Frank is also Donna, the women with whom he wants a relationship. She is also Audrey who meets with a colleague in the fast-food restaurant to discuss the plight of Bruce at the New-Path facility. If DELEUZE’s work points to becoming ‘other’ as a liberatory experience, A Scanner Darkly portrays a graphic dystopian othering of schizophrenia perpetrated by work and technology.

Figure 4. Arctor’s boss Frank / Donna in his / her scramble suite

If A Scanner Darkly is about schizophrenic bodies, it is also about societal paranoia. Paranoia, in A Scanner Darkly, is often expressed alongside the constant surveillance (real and imagined) endured by the film’s characters. Near the begin- ning, a scene shows Arctor walking down the street, talking on his mobile phone. As he talks, the shot cuts to a large room full of people, computers, and visual images. A surveillance technician ties into the mobile net and satellite imagery in order to triangulate Arctor’s position. After some trial and error, the technician sees him walking down the street on the screen. Then, the technician uses facial-feature recognition technology to pull-up Arctor’s FBI file. She ultimately dismisses the telephone call as innocuous. Beyond her seat, we see rows of technicians and banks of surveillance imaging equipment. Public spaces are surveyed through satellites and cell networks; private spaces are monitored through holoscopes.

DELEUZE and GUATTARI (1987) argue that, with drugs, body movements become reified and stuck in habitual relations with the world and themselves; moreover, as paranoia emerges, bodies’ movements in society and space become predictable and their destinations knowable. The roommates actions over the bike gears, and later when their car breaks down on the way to San Diego, are knowable and predictable, and, while endearing also verge on the pathetic. In the context of the film, we are drawn to the ways that drugs become the external source of producing desiring rela- tions and, as such, limit thought and action, snip extensions, and smother the crea- tive potentiality for affective relations and corporeal differentiations. The following section addresses the relationship between the production of moving ‘drugged’ imagery or visualization of addiction, as aesthetic, and the affective relations being constituted with social and moral spaces engaged with drug addiction off screen. rr ae As Lethem points out on the DVD commentary, the roommates are in a state of radical disjunction, which also is a protest expressing their feeling about reality in general. If there were a missing ingredient for a recipe in the kitchen, it would be construed as a conspiracy; and this is, literally, a line of flight. By being readily able to find a conspiracy in seeming missing gears they are galvanized into group action. Luckman heads for the door to rescue the orphaned gears, pulling the rest of the group with him. They are always wrong yet they are always right. In the commentary track, DICK’s daughter points out that he continually vetted the FBI for the file they had on him. When he eventually received the file there was nothing in it besides letters he had sent accusing his roommates of drug dealing. Duplicity within duplicity. Yet, from his earliest writing in the 1950’s, DICK presaged a number of problematic changes in society such as the privatization of the public sphere, and the corporatization of surveillance technology.

Figure 9. A waste of a truly good house These moments in A Scanner Darkly open up an innate desire for truth. The narrative of the film, as expressed in scenes like this, can be seen as the creative endurance of Bob Arctor. And, while the desire to endure does not overtly seem to trump Arctor’s desire for truth about his social world of drugs, enforcement and government conspiracy in growing Substance D, A Scanner Darkly can be read as a unmitigated critique of “the work of truth” (FORD 2005, 66). Indeed, despite the fact that all the characters in this film do not necessarily function well in society (as individual, friends, co-workers, lovers, etc), they do find a way to endure. Even as a lifeless body, DICK’s rendering of a drugged body can still endure. Such a rendering has important ethical considerations for a society steeped in capitalist and neoliberal values. In A Scanner Darkly, to endure, however, does not necessarily mean to be alive from the Deleuzian sense of an affective or acting body. As DICK shows us, even dead things and dead people can endure. The social reproduction of junkie (or those who move only for the junk) produces nothing new relationally other than competing forms of (in)sanity — difference predicated by degree (or lack) and not kind.

Figure I. Cinema visitors and screened films in Germany. A cinematic landscape is a filmic representation of an actual or an imagined environment viewed by a spectator — nothing more and nothing less — at first sight. HOPKINS (1994, 49) suggests a cinematic landscape is a very sophisticated and powerful form of representation because of the medium. Movies have helped estab- lish specific landscapes and brought them into national consciousness. Landscape is central to the formation of cinematic space (ESCHER and ZIMMERMANN 2001). BALASZ (1924) argued that in a good film the spectator should be able to foresee the character of a scene just from reading the landscape and that the poetic possibilities of landscape were not fully exercised. In 1924, it was definitely true that land- scapes’ potential were not used to their full extent. It took several more years to develop these possibilities. Today, some genres are organised around their distinc- tive geography including Hollywood and Italian Westerns, Eastern German Mountain Film, and German Heimatfilm. The various uses of landscape through the period of Heimatfilm’s existence highlight the importance of landscape for this genre (BLIERSBACH 1989). The basic ideas and motifs of this genre derive from numerous influences. One

from its former role as setting and metaphor to a more pivotal and substantial role as actor. For example, in Der Férster vom Silberwald, the opening credits thank the astounding landscape for its beauty and help as an actor (HARRIS and WULKER 1953). Other excellent examples from this period are: Wenn der weife Flieder wieder bliiht (1953), and Heideschulmeister Uwe Karsten (1954).

Figure 1. Similarities between North Peak in the Sierra Nevada and the Paramount Films icon. Drawing by Tina Kennedy. North Peak has been my sacred mountain since I found it when I was nineteen years old. North Peak and the surrounding area along the crest of California’s Sierra Nevada affected me strongly. They piqued my curiosity about landscape and our relationship with it, leading me to study geography and environmental perception. Imagine my distress when, in the process of creating this paper, I discovered North Peak’s marked resemblance to the Paramount Pictures icon I had seen hundreds of times in my childhood (Figure 1).

My Dad worked seasonally as a logger or in sawmills, whenever work was available. He completed the tenth grade, my Mom the eighth. Mom was an exceptional housewife, seamstress, and mother. I had two brothers: Mikel, a year and a half older than I, and Jack, four years older. We were poor, but clean and not “beholdin’” to anyone. The Strand was gone by the time I was born, so in the first seventeen years of my life, every movie I saw was in the Del Oro Theater, on Mill Street. To me, the theatre and Public Library were the two most important downtown locations (Figure 3).

raised and positioned. When the lights dimmed, heavy, red velvet curtains parted anal these: arias exceed Seek secu ee 2S PP tt Plies ees

Figure 6. Landscape near Teec Nos Pos on the Navajo Nation, 1980. Photo by Tina Kennedy.

Figure 8. Scenes from The Sands of Iwo Jima. Drawing by Tina Kennedy. Mike went to Vietnam. I went to Berkeley. Mike eventually became one of twelve Sergeant Majors in the U.S., and, eight years after he retired from thirty years as a Marine, killed himself with his own pistol. Had he not liked war movies, joined the Marines directly out of high school and built his identity upon being a Marine, would his life have been different? (Figure 8)

Figure 10. The “home of my heart”, the crest of the Sierra Nevada. Photo by Tina Kennedy.

happens in “my kitchen’, in “my home.” Later in the film the child forces her birth mother, who is depressed by a growing understanding of her daughter’s real nature, to walk to the cliffs edge in front of “my house” and jump — a cliff edge where I had stood alone many times looking at the rocks and water below. The power or horror of a “B” science fiction film was magnified by its invasion of my former home, life- space, and by its replication of a stage or time period of my life. My memories of a real place, my former home and environs, were twisted into symbols of a horror movie.

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Roads and Anthropology: Ethnographic Perspectives on Space, Time and (Im)Mobility

by Dimitris Dalakoglou

2012

The current text locates the anthropological study of roads within the wider context of studies on mobility and modernity. Besides introducing the articles of this special issue of Mobilities on roads and anthropology, this introduction... more

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"Form versus Matter: Miraculous Relics and Lenin’s Scientific Body"

by Alexei Yurchak Алексей Юрчак

This paper investigates the unique science of preservation that emerged around the task of maintaining Lenin's body for public display in mausoleum in Moscow.

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The ethics of information transparency

by Matteo Turilli and

The paper investigates the ethics of information transparency (henceforth transparency). It argues that transparency is not an ethical principle in itself but a pro-ethical condition for enabling or impairing other ethical practices or... more

Fig. 1 Relations of dependence and regulation between ethical principles and information. Dependence relation between ethical principles and transparency subsists when ethical principles need to be supported by information. Regulation relation subsists when ethical principles constrain the flow of information

Fig. 2 Process of deriving information from data. Data are the input of operations that produce information as output. The ethical nature of information transparency as an ethically enabling (or impairing) feature depends on the set of ethical principles constraining such operations

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2014 “Introduction to Pierre Bourdieu’s Theory of Social Fields”, in Hilgers M., Mangez E., Bourdieu’s Theory of Social Fields. Concepts and Applications, London/New-York, Routledge, Routledge Advances in Sociology, pp. 1-36 (with E. Mangez)

by Mathieu Hilgers

of Thinking in terms of fields requires a conversion of one's entire usual vision of the social world, a vision interested only in those things which are visible ... In fact, just as the Newtonian theory of gravitation could be developed... more

SE Ne jynamics. Every field is subject to contingency and is, moreover, capable o: ‘unctioning in accordance with logics that are specific to it. Nonetheless, al jelds are structured and historicized. Because they each have a “structura ustory’ (Bourdieu 1989: 265-328; Bourdieu 1996c: 188-229), they are subjec' 0 homologous transformative logics, seen particularly in the positions taken by the agents of the field. As has been seen by following the path of the invertec U-curve, these position-takings vary according to the agents’ positions withir he fields.

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Rationality and Power: Democracy in Practice

by Bent Flyvbjerg

1998

Back cover text: If the new fin de siècle marks a recurrence of the real, Bent Flyvbjerg’s Rationality and Power epitomizes that development and sets new standards for social and political inquiry. The Danish town of Aalborg is to... more

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Chronicles of Complexity: Ethnography, superdiversity and linguistic landscapes (TPCS draft)

by Jan Blommaert

2013

An ethnographically revised linguistic landscape study can be used as a sensitive methodological tool for detecting the complexities of urban space in superdiverse areas. The data used in this book are from an inner-city neighborhood in... more

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Habermas and Foucault: Thinkers for Civil Society?

by Bent Flyvbjerg

1998, The British Journal of Sociology, vol. 49, no. 2, pp. 210-233

Taken together, the works of Jurgen Habermas and Michel Foucault highlight an essential tension in modernity. This is the tension between the normative and the real, between what should be done and what is actually done. Understanding... more

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Clothes Make the Person? Performing Gender Through Fashion

by Brett Lunceford

2010, Communication Teacher

Objectives: To help students: (1) think critically about how they perform gender through clothing choices; (2) recognize how different cultures define masculinity and femininity. Courses: Communication Theory, Gender and Communication,... more

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2016 - Il sistema del velo / Système du voile - Libro completo

by Henri de Riedmatten and

Questo volume intende esplorare, da un punto di vista interdisciplinare (storia dell’arte, semiotica, letteratura comparata, filosofia), la figura del velo come sintomo ed espressione delle modalità più rilevanti nella percezione e nella... more

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2014 - Immagini efficaci / Efficacious Images (_Lexia_ n. 17-8)

by Massimo Leone

“Viviamo nella società delle immagini” è ormai una frase senza senso. Se tutto è immagine, come distinguere tra visione e visione, a ognuna attribuendo una certa fattura, significazione, presa sul reale? Da tempo la semiotica si è data... more

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The Influence of Ritual in Performance Art: A Retrospective and Correlational Analysis

by ISMENE KING

This dissertation investigates the element of Ritual, apparent in a wide variety of performance pieces, dating back to the earliest forms of performance art, and essentially its relationship to the performative process. Significant... more

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Fractal Zooms and Infinite Spaces: the Unbearable Quest for the Sublime

by Félix Lambert

Even if fractals are omnipresent in nature, we have had to wait until the last century to call attention to their existence in the mathematical literature and acknowledge their importance. Fractals have received international attention... more

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A Brief History of Storytelling: From Primitive Dance to Digital Narration

by Recep Yilmaz and

2018, Handbook of Research on Transmedia Storytelling and Narrative Strategies

The aim of this chapter is to examine the history of storytelling. This brief history includes the concept of storytelling from myths to the digital era. In the first part of the chapter, the origins of storytelling in primitive... more

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The City in History and the History of Conscious Cultural (D)evolution

by Luke Barnesmoore

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Tattoos and Body Modiﬁcation

by Marin Kosut

2015, In: James D. Wright (editor-in-chief), International Encyclopedia of the Social & Behavioral Sciences, 2nd edition, Vol 24. Oxford: Elsevier. pp. 32–38.

This article examines tattooing as an ancient and contemporary form of body inscription and modification. It frames the popularity of tattooing in the Western World in relation to other modern body modifications and within the landscape... more

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Palaguta I.V., Mitina M.N. On the problem of interpretation of the Neolithic anthropomorphic clay sculpture: figurine sets — their structure, functions and analogies // Anthropomorphism and symbolic behaviour in the Neolithic and Copper Age communities of S-E Europe. Suceava, 2014. P. 275–301

by Ilia Palaguta

2014, ISBN 978-606-93638-4-3

The problem of an anthropomorphic statuettes interpretation is the most actual in the studies on the European Neolithic Art (7000–3000 BC). Over the ХХ century the interpretation of such pieces of art was mainly based on antecedent... more

The problem of an anthropomorphic statuettes interpretation is the most actual in the studies on the European Neolithic Art (7000–3000 BC). Over the ХХ century the interpretation of such pieces of art was mainly based on antecedent concept of ties between statuettes and fertility cults and also perceptions about Great Goddess. The failure of speculative hypotheses initiated the search for new areas of research, particularly, in the studies on the figurines iconography and on their place in the social and cultural context.
From this perspective, the most informative are ‘closed’ assemblages, which represents by sets of figurines. In the article two of such sets analyzed, that were found in the settlements of the early period of Cucuteni-Tripolye culture: Poduri and Isaia in Romania. Both sets were found in vessels, and included 21 seated statuettes, differing in size, shape and decorations, and 13 miniature chairs. The analysis of the statuettes iconography shows that the kits includes 6 male and 7 female figurines, seated on 13 chairs, and 8 figures without chairs (female and of uncertain sex). They designated one group of personages that organized on the hierarchical principle, similar to the hierarchy of social groups. Such sets were used in other settlements of this period. Such figurine sets were regularly reproduced during about 400 years when bearers of Tripolye-Cucuteni tradition settled on a large area to the east of the Carpathians.
In conditions of differentiation of groups and development of new territories, figurines sets might represent the group of ancestors, common to the whole population. Functions of the sets can be defined in the field of ancestor worship and their application in the initiations and/or in mantic practices is also possible. Discontinuation of such sets associated with changes in ideology on the next stage of culture development.
The cult of ancestors and ancestor’s images in various forms are represented in the world anthropology and they are important part of spiritual culture of traditional societies. An analysis of antique, particularly Roman material gives close structural analogies to the European statuettes of the Neolithic Age. In extant texts is mentioned the whole group of gods associated with house and family: Genii Familiae, Lares Familiares et Compitales, Penates. As suppose the number of researchers, cults of such gods date back to honor of family or community ancestors. The iconography’s research of “household” gods shows tie between Lares and house. Figurines and images of Lares are usual placed on “Lararium” (hovel, often framed by a portico) a kind of house model. Some features of Lares and Penates cult and it’s iconography give base to draw a parallel between Lares and Penates and certain groups of the early-agriculturalist statuettes, which can be interpreted as character’s images connected with ancestor’s cult — either a direct ancestors or general mythology ancestors of ethnic group.

Fig. 5. Images of the Lares: 1 — Lararium from the House of Vettii, Pompeii; 2 — Lararium with snake images, Pompeii.

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Ways of Doing Genealogy: Inquiry after Foucault

by Thomas Nail and

Roundtable interview with Colin Koopman, Verena Erlenbusch, Simon Ganahl, Robert W. Gehl, Thomas Nail, and Perry Zurn, on genealogical methodology after Foucault.

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Myths of Deliverance Through Conquest: The Myth of Liberation Through Technological Power

by Luke Barnesmoore

Mumford disparagingly casts Campanella's City of the Sun as little more than a synthesis of Plato and More's dystopian utopias. (Mumford 1922, p. 103) There are, however, two passages that Mumford posits as worthy of observation.

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Pink, S. (2011) ‘Images, Senses And Applications: Engaging Visual Anthropology’, Visual Anthropology, 24(5): 437-454

by Sarah Pink

In this article I discuss how visual anthropology methods are advancing in a contemporary environment where applied, activist, public and interdisciplinary anthropologies are increasingly central. In earlier work (Pink 2004, 2006, 2007a)... more

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The Maya Deluge Myth and Dresden Codex Page 74: Not the End but the Eternal Regeneration of the World (2015)

by John B Carlson

2015, Cosmology, Calendars, and Horizon-Based Astronomy in Ancient Mesoamerica; eds. Dowd, Anne S. and Susan Milbrath; pp. 197-226

This study explores the multifaceted Maya Deluge Myth, from its pre-Columbian origins to current fantasies about a great world-destroying flood at the 13 Baktun period ending of the Maya Long Count on 21 (or 23) December 2012. No such... more

Figure 8.7. Fragment of the “Wagner Murals” from the Techinantitla compound in ancient Teotihuacdn, Central Mexico (ca. A.D. 650-750). The complete mural composition depicts the full body of the quetzal-plumed serpent in the sky above a series of flowering trees, pouring down flows of red and blue liquid (blood and water) to nourish the earth. This plumed celestial dragon, which was also a manifestation of Venus, corresponds to the Kukulkan of the (Yucatec) Maya and Quetzalcoatl for the Nahua-speaking Toltecs and Aztecs. (After Berrin and Pasztory 1993, 202, cat. no. 50, reprinted with permission.)

Ficure 8.9. The equinox descent of the “Serpent of Light and Shadow” on March 21, 1989, seen about an hour before sunset on the northwest balustrade of the Temple of Kukulkan (El Castillo) at Chichén Itzd, Yucatan. The great Plumed Serpent head at ground level is completely illuminated below the pattern of seven triangles of light (photograph by John B. Carlson, Carlson 1993, 137, fig. 13 reprinted with permission).

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Visualization in Hindu Practice

by Sthaneshwar Timalsina

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Reading Maya Art: A Hieroglyphic Guide to Ancient Maya Painting and Sculpture (with Andrea Stone)

by Marc Zender

2011

Maya art is a rare combination of linear elegance and naturalism, blended with dazzling symbolic complexity. Decorated objects, ranging from painted vases and carved jade and shell ornaments to towering stone monuments and building... more

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A Parasite From Outer Space: How Sergei Kurekhin proved that Lenin was a mushroom

by Alexei Yurchak Алексей Юрчак

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Photographs and the Sound of History

by Elizabeth Edwards

2005, Visual Anthropology Review

cisely from this concern with performative embodiment within the everyday usage of images that Pin-

Figure 1. Lena Djabbiba (right) looking at Axel Poignant’s photographs, with her daughter Rachel and granddaughter Stephenie. Maningrida 1992. Photo © Roslyn Poignant.

Figure 2. Gordon Machbirrbirr with the “Die Bodies File”. Maningrida. 1992. Photo © Roslyn Poignant. It’s like a life coming to you. Like you have your life coming back...I have never seen my ancestor, not confined to particular spacio-temporal coor- dinates, but consist of a spread of biographical events and memories of events, and a dispersed category of material objects. Traces and leavings,

Figure 3. Senior men studying photographs of ceremonies. From left Blindubandu, Tommy Wagbara and Steohen Kawirlkku. Maningrida. 1992. Photo © Roslyn Poignant. Thus, “photos can constitute relatedness as a so- cial fact. They can create a form of subjectivity, bring- ing those distant in time and space into a present” (MacDonald 2003:236). This process can also remove photographs from assumed models of periodization. As Donna Oxenham has commented, indigenous iden- tities are not necessarily locked into the periodization of past, present and future; rather, all three exist, like photographs, in the here and now (personal communi- cation, 2002). Smith, writing of the use of photographs by the Aboriginal community at Coen, Cape York, has stressed the way in which photographs fit into a model by which people, things and land can all “ini- tiate causal sequences and affect those persons who come into contact with them” (Smith 2003:21)—that is, the emphasis is on the relationships that photo- graphs represent through their indexical traces, rather than on individuals in their understandings of human subjectivity and thus, history. Photographs are thus re- lationships made visible: “the theme which came to dominate almost every photo-viewing session [was] the sense in which the photographs established con- tinuities of self and families and made biographies and genealogies visible” (Poignant 1992:74). Indeed, people were identified in photographs through what one might describe as a relational analysis: “identifi- cations were made by noting the position one person occupied in relation to another—even from their back view” (1992:74). MacDonald extends this point: “The genealogical memory is a memory of real people in real time. Photos have the capacity to extend sociali- ties which, in the Koori case, are primarily based on

Figure 5. Namaluda, Nangulumin and children in a group, looking at contact sheets. Maningrida. 1992. Photo © Roslyn Poignant.

Figure 6. Frank Gurrmanamana singing “singray”. Maningrida. 1992. Photo: © Roslyn Poignant.

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'Dancing with the stars' - Astronomy and Music in the Torres Strait

by Duane Hamacher

2018, Imagining Other Worlds: Explorations in Astronomy and Culture, edited by Nicholas Campion and Chris Impey. Sophia Centre Press, Lampeter, pp. 151-161

Song and dance are a traditional means of strengthening culture and passing knowledge to successive generations in the Torres Strait of northeastern Australia. Dances incorporate a range of apparatuses to enhance the performance, such as... more

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Tempted to Touch: Tactility, Ritual, and Mediation in Byzantine Visuality

by Roland Betancourt

2016, Speculum

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2016 Origins of Standing Stone Astronomy in Britain

by Gail Higginbottom

2016, Journal of Archaeological Science: Reports

By c. 3000 BCE, in the late Neolithic, there had been a significant change in the way people materialized their cosmology across Scotland with the introduction of free-standing stones that continued to be erected almost until the end of... more

By c. 3000 BCE, in the late Neolithic, there had been a significant change in the way people materialized their cosmology across Scotland with the introduction of free-standing stones that continued to be erected almost until the end of the Bronze Age (Burl, 1993, 2000). Significantly, a series of astronomical patternings have been empirically verified for many Bronze Age monuments that were erected in the latter Bronze Age (Higginbottom et al., 2000, 2001, 2015). Further, two series of complex landscape patternings associated with the monuments and their orientations have been identified (Higginbottom et al., 2015; Higginbottom and Clay, in press). However, when and where these patterns were first associated with standing-stone structures was unknown. Through innovative statistics and software we show that visible astronomical-landscape variables found at BronzeAge sites on the
inner isles and mainland of western Scotland were actually first established in stone nearly two millennia earlier, likely with the erection of two of the earliest dated British 'great circles': Callanish on the Isle of Lewis and Stenness on the Isle of Orkney. In particular,we introduce our new statistical test that enables the quantitative determination of astronomical connections of stone circles. It is seen that whilst different standing-stone monuments were created over time (Burl, 1993, 2000; Higginbottom et al., 2015) with a mixture of landscape variables (Higginbottom et al., 2015), we nevertheless see that highly relevant landscape markers and other aspects remained unchanged through these years. This suggests that there is some continuity of this cosmological system through time, despite the various radical material and social changes that occurred from the late Neolithic to the Late Bronze Age (Lynch, 2000; Mullin, 2001; Owoc, 2001).
https://www.altmetric.com/details/10434023#score
Co-author: Roger Clay

© 2016 Elsevier Ltd. All rights reserved.

For copy of early draft paper see pre-print server:
http://arxiv.org/pdf/1402.1338v2.pdf
LINK to pre-print article under file drop down menu in full document view (click on heading of this article if still on my main academia.edu page).

This early draft has half the explanatory text of the methodology of our JAS Reports paper. It is a condensed piece in a form similar to a Nature paper with supplementary text containing some explanations; please feel free to contact for more information.

ig. 1. Examples of Bronze Age standing stone monuments. A, Camas nan Geall in north Argyll (2.3 m high by 0.9 m by 0.2 m), displayed here with one side of the amphitheatre created y close hills in view. It was found in Higginbottom in preparation-a, that the horizons of the standing-stone monuments in this area and on Mull have characteristics that would mphasise the Moon illusion (where the moon looks larger nearer it is to the horizon). The sites usually stand in a small and semi-enclosed amphitheatre, created by a relatively close orizon either north or south of the site, sometimes to within 50-100 m as at this site or Totsarie on Mull). At others an open amphitheatre in created by the entire visible sections of valley, like at Uluvalt (see Fig. 4). This is a slab and so onsite orientations were taken along the horizontal axis of the long side. Photograph taken by Douglas Scott. Copyright € Jouglas Scott. B, Balliscate is made up of three stones of basalt were erected in an approximately straight line running N and S, 5 m. long. The furthest stone (A on plan of RCAHMS, 980, fig. 39) is 1.8 m in height by 0.65 m, by 0.6 m at the base. It is a slab in line with the major axis of the 3 stones. Stone B is prone, half-embedded in peat, and is 2.8 m long by .7 m, and 0.4 m thick. The tallest of the stones (C), closest to viewer, stands within a ruined turf-and-stone bank and measures 2.5 m in height by 1.1 m in breadth, by 0.8 m thick q.v. RCAHMS, 1980, no 90). Photograph taken by Gail Higginbottom. Copyright © Gail Higginbottom.

Fig. 2. Map of region and case-study sites. Scale 1:350,000; north arrow indicates grid north. Modified Ordnance Survey map: Ordnance Survey © Crown Copyright 2013. All right reserved.

Fig. 3. The great circles. A (top), Stenness, Mainland, Orkney. (Canmore ID 2105. National Monuments Record of Scotland (NMRS) Site Number HY31SW 2) The circle of the Stones of Stenness is 32.2 m by 30.6 m (Burl, 2000: 210). Its earthen henge is 45 m in diameter, over 7 m wide and over 2 m deep and the circumference is 141.37 m (Burl, 1976: 210; Ritchie and Ritchie, 1991: 47-50). Photograph Douglas Scott, © Douglas Scott. B (bottom), Callanish (Canmore ID 4156, NMRS Site Number NB23SW 1) on Lewis is 13 m in diameter with a long stone avenue running north-southwards (southwards is towards the circle) and single long stone rows radiating outwards towards the other three cardinal points. SC_1023422, © RCAHMS (Aerial Photography Collection). Licensor www.rcahms.gov.uk

Fig. 4. Example of 3-D rendering of the landscape using the classic site of Uluvalt on Mull. (Canmore ID 22219, NMRS site number NM52NW 3, national grid reference (NGR) NM5469 2997), along with key to reading the paths of the Sun and the Moon on the other such figures below. N = north, S = south. Note there is landscape overlap in the S for easier viewing. Software created by Andrew Smith. Based upon the Ordnance Survey 1:50,000 Landform PANORAMA map with permission of the Controller of her Majesty's Stationery Office © Crown Copyright.

Fig. 5. 3D landscapes of the Bronze Age example sites and the Neolithic great circles (S = south; N = north; sw = southwest etcetera; see SMFigs. 1-5 & 8-9 for higher resolution anc greater detail, as well as Figs. 6 & 7). a, Cragaig, Mull (NGR) NM4028 3901: a pair standing stones, approximately 4 m apart. One is a 1.3 m tall, the other is 1.6 m. b, Dunamuck, Argyl (NR8470 9290). Stone row of 4.4 m made up of three menhirs up to 3 m high. c, Hough, Tiree: 2 small stone circles 90 m apart and 40 m in diameter. d, Blashavel, Uist (NF9122 8068): a thin, tall slab 2.5 m high by 2 m wide. Our pilot study on Uist has begun to find the same patterns as discovered elsewhere to date. e, Balliscate, Mull (NM4996 5413): a stone row of 3 irregular menhirs: 5 m in length and 1.8 m to 2.8 m in height. This is a reverse site. f, The Neolithic Stenness stone circle, on Orkney (HY3067 1252), is a reverse site. g Neolithic Callanish I stone circle, Lewis (NB2130 3300). A.G.K. Smith, created all landscapes with the software Horizon, © A.G.K. Smith. Also created with Terrain 50. Contains Ordnance Survey data Crown copyright and database right (2012). HYPERLINK http://www.ordnancesurvey.co.uk/docs/licenses/os-opendata-licence.pdf Also see Supplementary Material. Applying our 3D landscape models to the great circles of Callanish and Stenness, we find that they share a combination of the astronomical and landscape cues found at BA sites more than 1500 years later, where The results for Test larep= -0, 0125 for Callanish and p p= 0. 0375 for Stenness. Thus the likelihood of the number of ‘hits’ coming from ran- dom chance is 1.25% (p = 0.0125) and 3.75% (p = 0.0375). This means that the probability that the circles are not astronomical is low. For Test 2, the results are p < 0.97872 for Stenness and for Callanish, 0.97867 (p = 0.97867; where 1 = true and zero = not true). To put

Fig. 6. 3D landscape of Neolithic Stenness, Orkney (see SMFig. 8). Created with the software Horizon by A.G.K. Smith, © A.G.K. Smith. Created with Terrain 50. Contains Ordnance Surve: data Crown copyright and database right (2012). http://www.ordnancesurvey.co.uk/docs/licenses/os-opendata-licence.pdf Callanish on the western Isle of Lewis is a ‘classic’ site and Stenness in the north on Orkney is a ‘reverse’ site. Despite Stenness having an al- most flat horizon, the builders engineered very particular horizon views (Figs. 5F and 6 & SMFig. 8). The northern cardinal point is closely marked with a horizon notch, with the rising and setting Major Stand- still Moon placed very close to 25° either side of this. The SS Sun and northern Major Standstill Moon both rise out of a northern slope of the high ranges in the NE and set into the high points in the NW; the Minor Moon at the LS in the north rises out of the top of a hill in the highest range in the NW. The WS Sun rises out of the closest and highest range in the SE and sets in one of two very distinctive ranges in the SW; For Callanish, the highest points in the distant north sit NW and NE, as expected (Figs. 5g and 7 & SMFig. 9). The Major Standstill Moon rises out of the slopes of the NE range at the LS and begins to set into one of the peaks in the NW before rolling down its slope. Both the SS Sun and

Fig. 7. 3D landscape of Neolithic Callanish, Lewis (see SMFig. 9). Created with the software Horizon by A.G.K. Smith, © A.G.K. Smith. Created with Terrain 50. Contains Ordnance Surve data Crown copyright and database right (2012). http://www.ordnancesurvey.co.uk/docs/licenses/os-opendata-licence.pdf

Observed data used for probability calculations testing the astronomical associations of the great circles, Callanish and Stenness. Note that whilst Stone 3 of Stenness was 0.3 degrees ou side of the orientation error we included it in our assessment (See caption for SMFig. 6). There are no other orientations this close outside of the +3 degree orientation error range. Table 1 the Minor Moon at the LS in the south does the same, setting into the only other significant peak in the SW. Also in the south, the ‘top’ rim of the Moon of the Major LS lies just below the horizon within 0.5° in declination, and travels along this declination below the horizon, from 178° to 187°. What is important, here, is that its glow would travel above the horizon for nearly 10°. The equinox Sun rises out of, and sets into, ranges east and west of the site.

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Ethnographic Linguistic Landscape Analysis and social change: A case study. (Blommaert & Maly 2014)

by Jan Blommaert

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Charles Sanders Peirce and Anthropological Theory

by Mark Sicoli

The American philosopher Charles Sanders Peirce (b. 1839–d. 1914) has had a profound, expansive, and sometimes unrecognized impact on anthropological research and theory. Part of Peirce’s impact has been mediated through the work of... more

The American philosopher Charles Sanders Peirce (b. 1839–d. 1914) has had a profound, expansive, and sometimes unrecognized impact on anthropological research and theory. Part of Peirce’s impact has been mediated through the work of philosophers influenced by Peirce’s theory of signs, and who were themselves subsequently taken into anthropological theory. But the impact of Peirce’s semiotic on anthropologists who have interpreted Peirce directly has also been transformative, in particular, in developing a surprisingly transdisciplinary theory of meaning in anthropology. This article documents the role of Peirce’s theory of signs in facilitating a semiotic approach in sociocultural and linguistic anthropology and in providing a framework to critically expand research on visual and material culture, archaeology, trans-species environmental relations, life-systems, and the evolution of language and culture. The transformative impact of Peirce’s semiotic can be understood against the history of the dominant structuralist semiotic theory that guided much 20th- century anthropology that developed from the work of Swiss linguist Ferdinand de Saussure. Saussure called for a science of signs (termed “semiology”) that placed at its center an analysis of the arbitrary linguistic sign (constituted by an ideal binary binding concept and sound-image) and which has value as part of a system of oppositions (langue), held commonly in the minds of speakers as members of a society. A parallel model of language was incorporated into American anthropology by Franz Boas, who argued that language is a conventional system of classification for a society, and the dominant focus became the study of such systems of classification in domains such as botany, zoology, kinship, color, and so on. The structuralist concept of language as a conventional system also became a dominant model of culture in French and British anthropology, in particular through the integration of Claude Lévi-Strauss’s binary analysis of mythic and mental structures, and which was coordinated with the Durkheimian concept of language/culture as a public representation of a society’s values to itself. In contrast, Peircean semiosis does not take the idealist and arbitrary linguistic symbol as the privileged basis of semiotic analysis. Peirce’s semiotic provides a framework for understanding actions relating signs and their material qualities to their interpretations by agents (human and nonhuman) in the habit of making meaning in social-ecological contexts. Peircean semiosis focuses attention on dynamic interpretive processes and their consequences, and on the form, diversity, function, and positionality of signs in chains of actions playing out in time and space to practical, meaningful, productive, or consequential ends.

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Mother Earth, Pisces and the Two-Tailed Mermaid

by Lloyd Graham

2013

An illustrated essay which explores iconography that may be related to the archetype of a fish- or snake-legged Mother Earth. Topics include Sirens, mermaids and melusines; the Gnostic god Abrasax; the Zodiac symbol Pisces; the portrayal... more

The snake/fish equivalence of the melusine legend is just one instance of the interchange- ability of these species in terms of mythic iconography. Chausidis gives many examples of snake-legged depictions of the Earth Mother. These are particularly common in Scythian culture, whose origins lie in Classical Antiquity and whose range spans from Eastern Europe to Central Asia. One is immediately reminded by these snake-legged hybrids of the Gnostic god/archon/aeon named Abrasax (sometimes Abraxas), who is typically shown as having a human torso, the head of a cock, and a pair of snakes as legs (Fig. 2).'4 The motif’s origins may stretch back to New Kingdom Egypt! or even Akkadian Mesopotamia; '° either way, from the 2™ century CE onwards,'’ we find many amuletic gemstones engraved with his image and name. As with Sirens and melusines, we find bird anatomy (a symbol of air, the upper earth) at the top of the body and snakes (a symbol of the lower earth) at the bottom; these features indicate that the origins of Abrasax lie in the Mother Earth archetype. The switch in gender is not unprecedented; Chausidis notes that the template often receives masculine features in medieval Germanic cultures, and a Scandinavian example of a twin-tailed merman is shown.!* Fig. 2. Depictions of the Gnostic deity Abrasax. (a) Details from an illustration by Bernard de Mont. Faucon, 1722.'° (b) Amuletic gem, illustration by Charles King, 1887.”°

Fig. 4. The two fish of Pisces. (a) Tethered by tail and facing approximately the same direction: Kitab c Bulhan, 14" century Arabic text, Bodleian Library, Oxford. (b) Tethered by mouth and facing opposite directions: Zodiac window, Chartres Cathedral, France, ca. 1220. The reciprocal combinations are also possible (see text). Fig. 3. Two-tailed mermaid/Melusine depictions with incomplete or no assimilation of the fish. (a) Twin- tailed siren, Museo Lapidario di Duomo de Modena, Italy; note the fish mouth and eye on the right limb (lower), and the human foot as part of the tail on the same side (upper). Photo? by kind permission of © Francesco Santo, Parma, Italy. (b) Pfarrkirche St. Valentin, Kiedrich, Germany, where the fish are completely separate from the female torso. Photo courtesy of Andreas Praefcke.™4

Fig. 5. Behemoth and Leviathan in Ethiopian magic scrolls, and a possible echo in a Tarot trump. (a) This scroll*> is relatively crude, but comparison with the next panel reveals that the circle in the centre of each worm-like beast’s head (top centre) is an eye, the feet-like projections are parted jaws, and the intertwined filaments are protruding forked tongues. In the centre of the circle formed by their bodies is a spiral invocation in the liturgical language, Ge’ez.*° The symbols of the four Evangelists (clockwise from top left: man, bird, ox and lion) appear in the four corners. (b) A less abstract depiction of the same animals framing a published talismanic design.*” Photo © Guy Vivien, used with permission. (c) A published motif showing a snake-like Behemoth and Leviathan arranged head-to-tail in a circle around a spiral prayer in Ge’ez.** Photo © Guy Vivien, used with permission. (d) Za Lune (Moon) card in the Marseilles Tarot deck; it corresponds to Pisces. The dogs’ heads are reminiscent of the beasts’ heads in the panel above.*?

In the New Testament’s Book of Revelation, a celestial woman in childbirth is menaced by a dragon with multiple heads who “stands before her;” ready to devour her child as soon as it is born (Rev 12:1-4). Prof. Bruce Malina has compiled much evidence to support the identification of the pregnant sky-woman with the constellation Virgo.** “The great dragon was cast out, that old serpent” (Rev 12:9) establishes the equivalence of the dragon with the snake, while another dragon with the same physical features (seven heads and ten horns) is unequivocally assigned to the sea (Rev 13:1). Pisces is located directly Fig. 6. Two-tailed mermaids/melusine depictions where the fish-legs could be seen as entities threatening to an emerging child. (a) Siren with crown, Acerenza Cathedral crypt, ca. 1524; photo courtesy of Petrus Agricola.** (b) Late Gothic fresco, San Egidio church, Valdaora-Mitterolang, Italian Tyrol; two photos by Wolfgang Sauber, stitched.*” (c) Pseudo-Sirena bicaudata on ceiling boss, Ardagger Stift, Austria.

Fig. 7. Depictions of mermaids and melusines with their legs/tails lowered can resemble the scene in Revelation 12:1-4. (a) Melusine prepares to take flight after being discovered by her husband, Raymond de Lusignan; engraving, 1870.%’ (b) Imagery familiar from the Mexican icon Our Lady of Guadalupe, here showing the sky-woman of Revelation fighting the dragon.°*.”°

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Macro-reasoning and cognitive gaps: understanding post-Soviet Russians' communication styles

by Elena Fell

2017, ESSACHESS - Journal for Communication Studies

Elena FELL, Macro-reasoning and cognitive gaps: understanding post-Soviet Russians’ communication styles. ESSACHESS - Journal for Communication Studies. Vol 10, No 1(19) (2017). P. 91-110. Russians and Westerners access, process and... more

Figure 1. “Mother Russia” by A. Schukina, 13 y.o. (2016). Saint Petersburg Youth Centre “Ligovo”, club “Alfa” (teacher T. V. Orlovskaya) The author would like to end this paper by presenting two examples of Russian children’s artwork that depict their country and its history.

figure 1. “The heroic days of the siege” by A. Kudinova, 10 y.o. (2016). Saint Petersburg Youth Centre “Ligovo”, club “Mayak” (teacher I. V. Mirenkova)

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Антонов Д.И., Майзульс М.Р. Демоны и грешники в древнерусской иконографии: семиотика образа. М.: Индрик, 2011. 376 с.; илл. (D. Antonov, M. Maizuls. Demons and Sinners in Old Russian Iconography: The Semiotics of the Image)

by Dmitry Antonov and

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Bruno Latour and the anthropology of the moderns

by David Berliner and

2013, Social Anthropology/Anthropologie Sociale

Bruno Latour and the anthropology of the moderns 1 Imagine the brainwashing in store for a provincial, bourgeois Catholic with an advanced degree in philosophy who finds himself transported into the cauldron of neo-colonial Africa, with a... more

For further information on how to annotate proofs, click on the Help menu to reveal a list of further options:

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BYUNG-CHUL HAN: LA SOCIEDAD DE LA TRANSPARENCIA, CANSANCIO ELOCUENTE Y PSICOPOLÍTICA: DE LO VIRAL-INMUNOLÓGICO A LO NEURONAL-ESTRESANTE.

by Adolfo Vasquez Rocca

2015, Byung-Chul Han: La Sociedad de la Transparencia, Cansancio elocuente y Psicopolítica: De lo viral-inmunológico a lo neuronal-estresante

Resumen: Las obras de Byung-Chul Han — La sociedad del cansancio; La sociedad de la transparencia; La agonía de Eros; En el Enjambre y Psicopolítica: Neoliberalismo y nuevas técnicas de pode— recurren a varias metáforas y figuras... more

Resumen:
Las obras de Byung-Chul Han — La sociedad del cansancio; La sociedad de la transparencia; La agonía de Eros; En el Enjambre y Psicopolítica: Neoliberalismo y nuevas técnicas de pode— recurren a varias metáforas y figuras emblemáticas de la historia cultural y literaria para explicar la figura del sujeto de rendimiento. Sometido a un exitismo patológico y una auto-explotación productiva que entre otras consecuencias ha producido un declinar del deseo sexual o la agonía del eros. Ni siquiera el ocio o la sexualidad pueden rehuir el imperativo del rendimiento. El hombre contemporáneo se ha convertido en una fábrica de sí, hiperactiva, hiperneurótica, que agota cada día su propio ser diluyéndolo en un afán competitivo, de allí que el síntoma de nuestra época es el cansancio. El sistema neoliberal ha sido internalizado hasta el punto de que ya no necesita coerción externa para existir. Asimismo La sociedad de la transparencia lleva a la información total, no permite lagunas de información ni de visión” y acelera el flujo de datos empíricos. El mundo es hoy un mercado en el que se exponen, venden y consumen intimidades.

- Byung-Chul Han: Transparency Society eloquent fatigue and psychopolitics; Of the viral-immune to neuronal-stressful.
Abstract
The works of Byung-Chul Han - Society of fatigue; Society of transparency; The agony of Eros; In the Swarm and psychopolitics: Neoliberalism and new techniques pode- use many metaphors and symbolic figures of the cultural and literary figure to explain the performance of the subject of history. Exitismo subjected to a pathological self-exploitation and production among other consequences has been a decline in sexual desire or the agony of eros. Even the leisure or sexuality may shun the imperative of performance. Modern man has become a factory for themselves, hyperactive, Hyper-neurotic, exhausting day is its own be diluting it in a competitive effort, hence the symptom of our time is fatigue. The neoliberal system has been internalized to the point where you no longer need external coercion to exist. The society also leads to total transparency information does not allow information gaps or vision "and accelerates the flow of empirical data. The world today is a market in which they are displayed, sold and consumed intimacies.

Palabras Clave
Sociedad, productividad, rendimiento, cansancio, dominación, psicopolítica, transparencia, eros.

Keywords
Society, productivity, performance, fatigue, domination, psycho-political, transparency, eros.

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Real Social Science: Applied Phronesis

by Bent Flyvbjerg and

2012

Back cover text: Real Social Science presents a new, hands-on approach to social inquiry. The theoretical and methodological ideas behind the book, inspired by Aristotelian phronesis, represent an original perspective within the social... more

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"Framing the Dead on Roman Sarcophagi", RES: Anthropology and Aesthetics 2012: 213-27

by Verity Platt