Thinking Memory Through Space

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Pictures from an Expedition: Aesthetics of Cartographic Exploration in the Americas

A Symposium at the Newberry Library, Chicago, June 20-21, 2013

This symposium is made possible through support from the Terra Foundation for American Art

The Newberry Library’s Hermon Dunlap Smith Center for the History of Cartography is now taking registrations for “Pictures from an Expedition:  Aesthetics of Cartographic Exploration in the Americas.” The two-day symposium, organized by Dr. Ernesto Capello (Macalester College) and Dr. Julia Rosenbaum (Bard College), is supported in part by a grant from the Terra Foundation for American Art. “Pictures from an Expedition” will bring together national and international art historians, historians, and geographers to present and discuss research on the visual material produced during nineteenth-century explorations in the Americas.

The nineteenth century represents a high point in mapping expeditions at the hemispheric level as nations expanded into hitherto “unknown” territories. These expeditions produced vast troves of visual and artistic material. Alongside maps, these included sketches, drawings, paintings, photographs, and tourist brochures. The symposium focuses attention on maps as aesthetic objects produced in dialogue with other aspects of nineteenth-century visual culture. Papers by prominent and emerging scholars place the historical development of American cartographic aesthetics into hemispheric relief in order to investigate commonalities and distinctions in both the United States and Latin America.

No registration fee is required to attend the symposiumHowever, persons wishing to attend must register in advance by contacting Kristin Emery (emeryk@newberry.org312-255-3657) or Jim Akerman (akermanj@newberry.org312-255-3523). Registrations will be accommodated on a first-come, first-serve basis.

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CFP: Australian Anthropological Society Conference 2013

Australian Anthropological Society Annual Conference 2013 

Theme: The Human in the World, the World in the Human

Australian National University
6-8 November 2013

The theme of this conference embraces anthropology’s enduring commitments to grappling with the human condition in the widest terms. Yet it also directs attention to the ways in which the interrelated concepts, ‘human’ and ‘world’, receive critical disciplinary attention in the present. While anthropologists have always been interested in how particular environmental, social or political worlds shape and are shaped by human existence, the theme attends to the urgency that such questions take at a time when the limits and potentialities of what ‘human’ and ‘world’ mean are subject to searching re-examination. Climate change, developments in bio-technology, securitization and supply-chain capitalism, and processes of forced and voluntary migration are among an array of issues that challenge and stimulate the conceptual and ethnographic work of anthropologists in the present.

The theme also draws attention to how particularly located humans engage in projects of “worlding”, attempting to stake claims for the relevance of their own understandings, practices and commitments in contexts shaped by both human and non-human agents. How do humans get drawn into, adapt to and adopt in their own way worldly projects that originate from afar? What kinds of oppressions and freedoms are involved in these processes? Shifting global circumstances usher these questions into the anthropological domain, where they are dealt with from a multitude of perspectives, including anthropologies of globalization, media, religion and the environment, existential anthropology and economic anthropology, theories of network and meshwork and theories of political economy. We invite participation from any and all concerned with imagining the shape of the world and the place of the human in relation to it.

Instructions for the submission of individual paper abstracts: If you are interested in presenting a paper on any of the panel themes below, please contact the individual listed panel convenors directly. Send the panel convenor your paper title and abstract (maximum 250 words), along with your email address and institutional affiliation. Do NOT submit your paper abstracts to the conference organisers. The deadline for submission of paper proposals is 1 August 2013.

Conference panels of interest to readers of the Material World Blog may include the following:

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The Tool at Hand

The exhibition,  The Tool at Hand asked what would it be like to create a work of art using only one tool?

In the Spring of 2011 the Chipstone Foundation and the Milwaukee Art Museum invited sixteen established artists from Britain and America to participate in an unusual experiment. Each artist was asked to lay aside his or her standard tool kit and craft a work of art with one tool alone. The challenge presented to the artists sounds simple: create a work of art with one tool. The material and tool were left open-ended with the purpose of encouraging creativity within the one-tool constraint. The Tool at Hand brings together these artworks, the tools that crafted them and short, explanatory videos produced by each artist.  This was the artists’ invitation video, which the filmmaker, Nicola Probert, also created using only one tool.

Now all the artworks are on line, archived alongside essays and short films made by the artists who used tools ranging from a hammer, to a knitting machine, data, and a macbook pro.

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Elephant & Castle Mini Maker Faire

The Elephant & Castle Mini Maker Faire  is a day of family friendly making, learning, crafting, inventing and tinkering in the heart of London. Entry is free and there will be many opportunities to get hands on!

Their website showcases a series of makers and events, including talks and workshops, for instance, the work of Chloe Meineck whois a designer, Maker and researcher based in London and Brighton. Her work sits between the worlds of technology, craft, design and art. She is currently one of the Design Museum’s Designers in Residence.

Music Memory Box utilised RFID to consolidate peoples favourite objects and music together. This can be especially useful for dementia sufferers who can hold familiar objects and activate songs which can magically stir previously inaccessible memories.

Maker Faire is the Greatest Show (and Tell) on Earth—a family-friendly showcase of invention, creativity and resourcefulness, and a celebration of the Maker movement. It’s a place where people show what they are making, and share what they are learning

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Discarded ontologies

Blanca Callén Lancaster University,

Email: bcallenm@gmail.com

Behind the images and narratives of progress, effectiveness and innovation of electronics that make us believe in dematerialized technology without consequences (Gabrys, 2011:57), there is something dirty and ‘forgettable’ (Hird, forthcoming). That is electronic waste (e-waste).

Over the past November and December, I followed a group of informal waste pickers in Barcelona to study how they re-materialize and re-purpose discarded computers. What I found is that e-waste is not merely about dirtiness and forgettable materials. It is also about innovative everyday practices that compete to establish and negotiate different ontologies of value and functionality as waste moves across different legal regimes.

A common European Directive, the Waste Electrical and Electronic Equipment Directive (WEEE), currently regulates the Spanish system of e-waste management.  As a legal tool, the WEEE defines a new scenario where agents are more interconnected with their (contaminating) activities and responsibilities. Institutionally, the circuit of e-waste management lies on the so-called Extended Producer Responsibility (EPR). This means that, at least theoretically, producers are responsible for the collection, treatment, evaluation, and, if applicable, elimination of waste related to their products. However, as Queiruga et al. (2012) argue, this is not what actually happens. In practice, fines and responsibilities are divorced, and the ‘polluter pays’ principle’s core is corrupted.

Although citizens pay (through an invisible tax that doesn’t appear on bills) for sustaining the treatment of the WEEE, only producers (through the EPR) and recycling companies have the right to deal with waste and to make a profit from it. Producers pay municipalities for the collection and temporal storage of waste and then companies make a profit through the dismantling and recycling of waste, which is sold and returned to the production industry.

This European-wide legal framework is supplemented by different municipal laws. In Barcelona, where I conducted my ethnography, the Municipal Ordinance regulates the use of urban public spaces establishing that “the selection and extraction of waste placed in the public thoroughfare” is a minor infraction that is fined with up to 450,76€. This means that recovering things from the street in order to reuse them is penalized.

 A (g)local detour in the e-waste flow

Different agents defy these legal dispositions, like the illegal migrants, most of them sub-Saharian, who have been living off waste collecting for almost one year in a squatted industrial complex of warehouses. Most of them get up early in the morning and scour the city with a ‘shopping’ trolley looking for scrap and all kind of materials and objects, which then they bring to the warehouse, where everything is separated and classified.

Dealers buy scrapped computers and electric and electronic components from these waste-pickers and check if they work. If they don’t, they are dismantled into different pieces, such as metal cages, motherboards, or materials, like copper from wires, and are then sold by weight to scrap-yards; functional pieces, such as hard-disks or memory RAMs, are recovered and sold to companies or personal contacts which use them for assembling “new” old computers. Other computers just need to be repaired and have their OS reinstalled. Working electric and electronic appliances are sent by trucks and vans to Africa. Both content and container, appliances and trucks, are then sold in African second-hand markets.

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Tilan lives in a nearby squatted warehouse and he is the guy who repairs some of these computers. He tests them, tries to repair them, or dismantles and reuses the functional components in order to assemble new computers. Then he installs pirated OSs  such as Windows 7 or XP. He has learned how to do it thanks to ‘the Czechs’. “They know a lot about it”, he says. The Czechs were his housemates and he has learned by quietly observing how they repaired. He blames some of the waste-pickers, most of them from Romania, who treat computers as if they are just a piece of metal, handling them like scrap. In Tilan’s view they aren’t scrap: dumped computers are valuable and need to be carefully treated in order to reuse some of their components. If they are dropped, the components may be ruined.

Struggling computing ontologies

The growing number of people scavenging bins and pushing their supermarket trolleys full of scrap, attests to the unsustainable patterns of technology’s consumption cycle and problematises utopian narratives of innovation. Importantly, they also hint at the re-materializion of electronics that takes place through their collecting, dismantling, repairing and re-assembling, which keeps these computers in operation and in circulation.

By constantly re-imagining e-waste, these waste-pickers and menders create new forms of value and informal innovation. The innovative character of these practices lies in the fact that they defy e-waste destiny and its ontology: in their hands, a waste-computer is not a singular object defined by its disposal and treatment after manufacture and consumption, instead it is a precarious and temporal knot of heterogeneous assemblages in transition. The key point here is the (possibility of) transition. A computer in the bin, like the boats Gregson et al. (2010) describe, is not valued “for what it is, but for what it ‘might become’” (Ib. 2010:853). Informal waste pickers do not work with certainty and ‘actuality’, but with pure ‘virtuality’ and possibilities of ‘becoming’ which transform brokenness, failures or legal restrictions into productive occasions. When an old computer is considered waste and then dismantled and reassembled, it is being transformed from a static metal ‘black box’ into an open modular object. In this sense, waste-pickers can be easily compared with the Parisian maintenance workers of the transport system followed by Denis and Pontille (2011): both “go through what one would see as the ʻnaturalʼ boundaries of things, and explore and test the relations of components” (Ib., 2011:7).

These waste-pickers operate in a register in which success, functionality and value are not defined by the closure and stability of computers as ‘black boxes’ through manufacturing (Lepawsky and Billah, 2011:135), but by their ability to move across different ontology registers after they have become waste. This movement, however, is not easy. It depends on different technical knowledges, personal networks, and savings, and implies several risks, like defying European and municipal laws or crossing a desert to deliver them in Africa. Success and failure, it follows, cannot be mapped onto different kinds of objects (e.g. functioning vs non-functioning objects). As a matter of fact, the same object, a computer, can be inscribed in (and by) different logics: the logic of the material and the logic of function, which imply two different value systems defined, alternatively, by weight or bytes. This ontological and temporal issue is the reason for Tilan’s complaints about Romanian pickers and also reflects a current tension. The urgency of earning one’s living means that success doesn’t always mean to repair and re-assemble a computer, but can also mean to destroy and take it apart in components and metals that can be quickly turned into ‘fresh’ money. A first inspection of the outward aspect of the object and a quick test to check whether it starts up are ways to calculate the potential profitability of the object. Depending on the result, the waste-pickers will decide whether to take it apart or to sell it as an entire object for being re-assembled and repaired.

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The story about Tilan and the others talks about ‘outsiders’ and illegality, and how they intersect, at different points, with the formal circuit: challenging it, when they collect stuff from the bins; dealing with it by symbiotic complicity when they sell the remains after dismantling to recycling and scrap traders; or complementing and polishing it, when they selectively collect stuff from streets and dismantle, classify and sell components and pieces to be later recycled, while earning money throughout the process. Legal and illegal, formal and informal cross over and leak into each other. In this sense, this story shows how we cannot rely on linear and formal accounts to understand the regime of e-waste. This waste regime (Gille, 2010) requires a combination of different scales, circulations and exchanges of boundaries and edges, and a complex meshwork of overlaps, intersections, leaks and detours. It follows that, if we are to understand a particular waste regime it is not enough to pay attention to institutional and formal practices, we also need to pay close attention to those informal, unknown, intentionally hidden or ‘forgotten’ agents and practices that discretely traverse the streets.
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“Russians know how to have fun as if there is no tomorrow”

Interview with Irina Dubrovskaja (Ersatz Musika)

by Francisco Martínez (EHI, Tallinn Univ)

Fronted by the achingly melancholic voice of the conceptual artist Irina Dubrovskaja, the band Ersatz Musika is a great example of the cultural contribution of Russian emigrées to Berlin.The six members of the band immigrated to Germany at the beginning of the nineties and have been enriching the Russian diaspora with various musical projects ever since. Ersatz Musika combine gypsy folk with blues and cabaret to produce an uncanny sound, full of Russian irony, existentialism, absurdism, mistery… and somewhat with a wry heart.

From picking up wild mushrooms, to seeing that the water begins to drop from the ceiling or finding reasons to getting drunk, every song tells a story and exposes between the lines a tortured and surreal vision of modernity. Their debut ‘Voice Letter’ (2007), took its name from the flexidiscs that Soviet people would mail across the Empire as musical postcards. The album’s tracks were sung in Russian and the sound was exquisite and thick.

With ‘Songs Unrecantable’ (2009), their second album, the band translated the Russian beat into a chunky English (“If you’ve got a watch, means you’ve the time”). In few months they will present their third album; we hope it will be as unique, warm and human as the previous two.

Id painting

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ICT and Work : The United States at the Origin of the Dissemination of Digital Capitalism

Histoire et dynamique des espaces anglophones (ED4 – HDEA) – Travail, culture et société (TCS)

Date: 29 – 30 May 2013
Venue: Maison de la Recherche, 28 rue Serpente, 75006 Paris
Abstracts: ictandwork.blogspot.fr/
Registration: inscription.ictwork@gmail.com
Contribution: 30 euros (students 10 euros)
Wednesday 29 May

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Why do you like your beer in a glass?

So why do we prefer to have our beer in glasses rather than in plastic cups? After all, plastic cups are much more practical: they don’t break, they are easily disposable, and they can’t be used to attack people. Beer glasses, however, do tend to break, they cannot be easily disposed of, and are often used to attack people (in the UK, for example, more than 5,000 are attacked with glasses every year , costing the health service more than £2bn).

So why then, do we keep using glass to drink beer?

The answer to this mystery can be found in Mark Miodownik‘s upcoming book, Stuff Matters. The book is not out yet, but you can read a great excerpt published in The Guardian a few days ago here.

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Textile History

Textile History, (UK) co-edited by Laura Ugolini and Mary Brooks is a peer reviewed journal published twice a year. The editors want to extend its reach in Australia, New Zealand and the Pacific Islands. It takes high-quality research both in textile and dress history and is asking for submission of articles, shorter object lesson papers, research notes or conference /exhibition reviews.

For requirements of the different types of paper see the website. They would also like to be notified about interesting exhibitions and new publications, as well as up coming conferences. The journal welcomes papers from a wide range of disciplines – design, economic, industrial and social and cultural history and from a range of perspectives (e.g. anthropological, material cultural or museological) but still with a strong historical component, even if a contemporary subject. Those interested can access some of the papers and contents pages on the web site to get a flavour of the journal.

 

More information about Textile History and a link to the on-line journal can be found by clicking here.

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