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This collection of essays offers a new approach to the study of contemporary objects. The authors are from a diverse range of disciplines and each offer their own perspective on what material culture is and how objects affect human life.
Matter, Materiality and Modern Culture offers a new approach to the study of contemporary objects, to give the reader a new understanding of the relationship between people and their material world. It asks how the very stuff of our world has shaped our societies by addressing a broad array of questions including: * why do Berliners have such strange door keys? * should the Isle of Wight pop festival be preserved? * could aliens tell a snail shell from a waste paper basket * why did Victorian England make so much of death and burial?
How does design and innovation shape people’s lives in the Pacific? Focusing on plant materials from the region, How Materials Matter reveals ways in which a variety of people – from craftswomen and scientists to architects and politicians – work with materials to transform worlds. Recognizing the fragile and ephemeral nature of plant fibres, this work delves into how the biophysical properties of certain leaves and their aesthetic appearance are utilized to communicate information and manage different forms of relations. It breaks new ground by situating plant materials at the centre of innovation in a region.
What is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.
" it engages with the agentive qualities of matter " it shows how affective dimensions in history connect with material history " it explores the religious and cultural identity dimensions of the use of materials and artefacts
Throughout history and across social and cultural contexts, most systems of belief—whether religious or secular—have ascribed wisdom to those who see reality as that which transcends the merely material. Yet, as the studies collected here show, the immaterial is not easily separated from the material. Humans are defined, to an extraordinary degree, by their expressions of immaterial ideals through material forms. The essays in Materiality explore varied manifestations of materiality from ancient times to the present. In assessing the fundamental role of materiality in shaping humanity, they signal the need to decenter the social within social anthropology in order to make room for the material. Considering topics as diverse as theology, technology, finance, and art, the contributors—most of whom are anthropologists—examine the many different ways in which materiality has been understood and the consequences of these differences. Their case studies show that the latest forms of financial trading instruments can be compared with the oldest ideals of ancient Egypt, that the promise of software can be compared with an age-old desire for an unmediated relationship to divinity. Whether focusing on the theology of Islamic banking, Australian Aboriginal art, derivatives trading in Japan, or textiles that respond directly to their environment, each essay adds depth and nuance to the project that Materiality advances: a profound acknowledgment and rethinking of one of the basic properties of being human. Contributors. Matthew Engelke, Webb Keane, Susanne Küchler, Bill Maurer, Lynn Meskell, Daniel Miller, Hirokazu Miyazaki, Fred Myers, Christopher Pinney, Michael Rowlands, Nigel Thrift
First Published in 2010. Routledge is an imprint of Taylor & Francis, an informa company.
It has been clear for many years that the ways in which archaeology is practised have been a direct product of a particular set of social, cultural, and historical circumstances - archaeology is always carried out in the present. More recently, however, many have begun to consider how archaeological techniques might be used to reflect more directly on the contemporary world itself: how we might undertake archaeologies of, as well as in the present. This Handbook is the first comprehensive survey of an exciting and rapidly expanding sub-field and provides an authoritative overview of the newly emerging focus on the archaeology of the present and recent past. In addition to detailed archaeological case studies, it includes essays by scholars working on the relationships of different disciplines to the archaeology of the contemporary world, including anthropology, psychology, philosophy, historical geography, science and technology studies, communications and media, ethnoarchaeology, forensic archaeology, sociology, film, performance, and contemporary art. This volume seeks to explore the boundaries of an emerging sub-discipline, to develop a tool-kit of concepts and methods which are applicable to this new field, and to suggest important future trajectories for research. It makes a significant intervention by drawing together scholars working on a broad range of themes, approaches, methods, and case studies from diverse contexts in different parts of the world, which have not previously been considered collectively.
The Millennium Dome, Braveheart and Rolls Royce cars. How do cultural icons reproduce and transform a sense of national identity? How does national identity vary across time and space, how is it contested, and what has been the impact of globalization upon national identity and culture?This book examines how national identity is represented, performed, spatialized and materialized through popular culture and in everyday life. National identity is revealed to be inherent in the things we often take for granted - from landscapes and eating habits, to tourism, cinema and music. Our specific experience of car ownership and motoring can enhance a sense of belonging, whilst Hollywood blockbusters and national exhibitions provide contexts for the ongoing, and often contested, process of national identity formation. These and a wealth of other cultural forms and practices are explored, with examples drawn from Scotland, the UK as a whole, India and Mauritius. This book addresses the considerable neglect of popular cultures in recent studies of nationalism and contributes to debates on the relationship between ‘high' and ‘low' culture.
Death, dying and burial produce artefacts and occur in spatial contexts. The interplay between such materiality and the bereaved who commemorate the dead yields interpretations and creates meanings that can change over time. Materiality is more than simple matter, void of meaning or relevance. The apparent inanimate has meaning. It is charged with significance, has symbolic and interpretative value—perhaps a form of selfhood, which originates from the interaction with the animate. In our case, gravestones, bodily remains and the spatial order of the cemetery are explored for their material agency and relational constellations with human perceptions and actions. Consciously and unconsciously, by interacting with such materiality, one is creating meaning, while materiality retroactively provides a form of agency. Spatiality provides more than a mere context: it permits and shapes such interaction. Thus, artefacts, mementos and memorials are exteriorised, materialised, and spatialized forms of human activity: they can be understood as cultural forms, the function of which is to sustain social life. However, they are also the medium through which values, ideas and criteria of social distinction are reproduced, legitimised, or transformed. This book will explore this interplay by going beyond the consideration of simple grave artefacts on the one hand and graveyards as a space on the other hand, to examine the specific interrelationships between materiality, spatiality, the living, and the dead. The chapters in this book were originally published as a special issue of the journal Mortality.