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Aerial Imagination in Cuba is a visual, ethnographic, sensorial, and poetic engagement with how Cubans imagine the sky as a medium that allows things to circulate. What do wi-fi antennas, cactuses, pigeons, lottery, and congas have in common? This book offers a series of illustrated ethno-fictional stories to explore various practices and beliefs that have seemingly nothing in common. But if you look at the sky, there is more than meets the eye. By discussing the natural, religious, and human-made visible and invisible aerial infrastructures—or systems of circulation—through short illustrated vignettes, Aerial Imagination in Cuba offers a highly creative way to explore the aerial space in Santiago de Cuba today.
Our day-to-day musical enjoyment seems so simple, so easy, so automatic. Songs instantly emanate from our computers and phones, at any time of day. The tools for playing and making music, such as records and guitars, wait for us in stores, ready for purchase and use. And when we no longer need them, we can leave them at the curb, where they disappear effortlessly and without a trace. These casual engagements often conceal the complex infrastructures that make our musical cultures possible. Audible Infrastructures takes readers to the sawmills, mineshafts, power grids, telecoms networks, transport systems, and junk piles that seem peripheral to musical culture and shows that they are actually pivotal to what music is, how it works, and why it matters. Organized into three parts dedicated to the main phases in the social life and death of musical commodities resources and production, circulation and transmission, failure and waste this book provides a concerted archaeology of music's media infrastructures. As contributors reveal the material-environmental realities and political-economic conditions of music and listening, they open our eyes to the hidden dimensions of how music is made, delivered, and disposed of. In rethinking our responsibilities as musicians and listeners, this book calls for nothing less than a reconsideration of how music comes to sound.
We Still Here maps the edges of hip-hop culture and makes sense of the rich and diverse ways people create and engage with hip-hop music within Canadian borders. Contributors to the collection explore the power of institutions, mainstream hegemonies, and the processes of historical formation in the evolution of hip-hop culture. Throughout, the volume foregrounds the generative issues of gender, identity, and power, in particular in relation to the Black diaspora and Indigenous cultures. The contributions of artists in the scene are front and centre in this collection, exposing the distinct inner mechanics of Canadian hip hop from a variety of perspectives. By amplifying rarely heard voices within hip-hop culture, We Still Here argues for its power to disrupt national formations and highlights the people and communities who make hip hop happen.
The Routledge International Handbook of Ethnographic Film and Video is a state-of-the-art book which encompasses the breadth and depth of the field of ethnographic film and video-based research. With more and more researchers turning to film and video as a key element of their projects, and as research video production becomes more practical due to technological advances as well as the growing acceptance of video in everyday life, this critical book supports young researchers looking to develop the skills necessary to produce meaningful ethnographic films and videos, and serves as a comprehensive resource for social scientists looking to better understand and appreciate the unique ways in which film and video can serve as ways of knowing and as tools of knowledge mobilization. Comprised of 31 chapters authored by some of the world’s leading experts in their respective fields, the book’s contributors synthesize existing literature, introduce the historical and conceptual dimensions of the field, illustrate innovative methodologies and techniques, survey traditional and new technologies, reflect on ethics and moral imperatives, outline ways to work with people, objects, and tools, and shape the future agenda of the field. With a particular focus on making ethnographic film and video, as opposed to analyzing or critiquing it, from a variety of methodological approaches and styles, the Handbook provides both a comprehensive introduction and up-to-date survey of the field for a vast variety of audiovisual researchers, such as scholars and students in sociology, anthropology, geography, communication and media studies, education, cultural studies, film studies, visual arts, and related social science and humanities. As such, it will appeal to a multidisciplinary and international audience, and features a dynamic, forward-thinking, innovative, and contemporary focus oriented toward the very latest developments in the field, as well as future possibilities.
In Search of Lost Futures asks how imaginations might be activated through practices of autoethnography, multimodality, and deep interdisciplinarity—each of which has the power to break down methodological silos, cultivate novel research sensibilities, and inspire researchers to question what is known about ethnographic process, representation, reflexivity, audience, and intervention within and beyond the academy. By blurring the boundaries between the past, present, and future; between absence and presence; between the possible and the impossible; and between fantasy and reality, In Search of Lost Futures pushes the boundaries of ethnographic engagement. It reveals how researchers on the cutting edge of the discipline are studying absence and grief and employing street performance, museum exhibit, anticipation, or simulated reality to research and intervene in the possible, the impossible, and the uncertain.
This anthropological study explores the beliefs and practices that emerged around masking in the U.S. during the COVID-19 pandemic. Americans responded to this illness as unique subjects navigating the flux of social and corporeal boundaries, supporting certain beliefs and acting to shape them as compelling realities. Debates over health and safety mandates indicated that responses were fractured with varied subjectivities in play—people lived in different worlds and bodies were central in conflicts over breathing, masking and social distancing. Contrasting approaches to practices marked the limits and possibilities of imaginaries, signaling differences and similarities between groups, and how actions could be passageways between people and possibilities. During a time of uncertainty and loss, the "efficacious intimacy" of bodies and materials embedded beliefs, values, and emotions of care in mask sewing and usage. By exploring these practices, the author reflects on how American subjects became relational selves and sustained response-able communities, helping people protect each other from mutating viruses as well as moving forward in a shifting terrain of intimacy and distance, connection, and containment.
Creative and diverse approaches to ethnographic knowledge production and writing Ethnographic research has long been cloaked in mystery around what fieldwork is really like for researchers, how they collect data, and how it is analyzed within the social sciences. Naked Fieldnotes, a unique compendium of actual fieldnotes from contemporary ethnographic researchers from various modalities and research traditions, unpacks how this research works, its challenges and its possibilities. The volume pairs fieldnotes based on observations, interviews, drawings, photographs, soundscapes, and other contemporary modes of recording research encounters with short, reflective essays, offering rich examples of how fieldnotes are composed and shaped by research experiences. These essays unlock the experience of conducting qualitative research in the social sciences, providing clear examples of the benefits and difficulties of ethnographic research and how it differs from other forms of writing such as reporting and travelogue. By granting access to these personal archives, Naked Fieldnotes unsettles taboos about the privacy of ethnographic writing and gives scholars a diverse, multimodal approach to conceptualizing and doing ethnographic fieldwork. Contributors: Courtney Addison, Te Herenga Waka—Victoria U of Wellington; Patricia Alvarez Astacio, Brandeis U; Sareeta Amrute, The New School; Barbara Andersen, Massey U Auckland, New Zealand; Adia Benton, Northwestern U; Letizia Bonanno, U of Kent; Alexandrine Boudreault-Fournier, U of Victoria; Michael Cepek, U of Texas at San Antonio; Michelle Charette, York U; Tomás Criado, Humboldt-U of Berlin; John Dale, George Mason U; Elsa Fan, Webster U; Kelly Fayard, U of Denver; Michele Friedner, U of Chicago; Susan Frohlick, U of British Columbia, Okanagan, Syilx Territory; Angela Garcia, Stanford U; Danielle Gendron, U of British Columbia; Mascha Gugganig, Technical U Munich; Natalia Gutkowski, Hebrew U of Jerusalem; T. S. Harvey, Vanderbilt U; Saida Hodžić, Cornell U; K. G. Hutchins, Oberlin College; Basit Kareem Iqbal, McMaster U; Emma Kowal, Deakin U in Melbourne; Mathangi Krishnamurthy, IIT Madras; Shyam Kunwar; Margaret MacDonald, York U in Toronto; Stephanie McCallum, U Nacional de San Martín and U de San Andrés, Argentina; Diana Ojeda, Cider, U de los Andes in Bogotá, Colombia; Valerie Olson, U of California, Irvine; Patrick Mbullo Owuor, Northwestern U; Stacy Leigh Pigg, Fraser U; Jason Pine, Purchase College, State U of New York; Chiara Pussetti, U of Lisbon; Tom Rice, U of Exeter; Leslie A. Robertson, U of British Columbia, Vancouver; Yana Stainova, McMaster U; Richard Vokes, U of Western Australia; Russell Westhaver, Saint Mary’s U in Nova Scotia; Paul White, U of Nevada, Reno.
The SAGE Handbook of Cultural Anthropology is the first instalment of The SAGE Handbook of the Social Sciences series and encompasses major specialities as well as key interdisciplinary themes relevant to the field. Globally, societies are facing major upheaval and change, and the social sciences are fundamental to the analysis of these issues, as well as the development of strategies for addressing them. This handbook provides a rich overview of the discipline and has a future focus whilst using international theories and examples throughout. The SAGE Handbook of Cultural Anthropology is an essential resource for social scientists globally and contains a rich body of chapters on all major topics relevant to the field, whilst also presenting a possible road map for the future of the field. Part 1: Foundations Part 2: Focal Areas Part 3: Urgent Issues Part 4: Short Essays: Contemporary Critical Dynamics
Biotechnology and the Politics of Plants explores the mysterious phenomenon of ‘apomixis’, the ability of certain plants to ‘self-clone’, and its potential as a revolutionary tool for agriculture and enhancing food security, that may soon be a reality. Through historical anthropological and ethnographic study, Matt Hodges traces the development of the CIMMYT Apomixis Project, a prominent frontier research initiative, and its reinvention as a leading public-private partnership. He analyzes the fast-moving historical transition from public sector, mixed plant breeding approaches grounded in genetics, to a contemporary era of agricultural biotechnology and genomics where PPPs are a leading format, and explores how social contexts of research shape how knowledge is produced, as well as what remains ‘unknown’, and constrain the development of an ‘Apomixis Technology’. The chapters present an inventive approach informed by the anthropology of time, science and technology studies, and dialogue with the work of Gilles Deleuze, Paul Rabinow, Hannah Arendt, Andrew Pickering, and Eduardo Viveiros de Castro. Hodges outlines novel ways of integrating notions of history and becoming, and considers how apomixis offers up an alternative image of thought to theoretical concepts such as the well-known ‘rhizome’. The book makes a valuable contribution to both the growing social scientific literature on genomics and biotechnology, and recent anthropological debates on time and history.