By Penny Harvey, Eleanor Conlin Casella, Gillian Evans, Hannah Knox, Christine McLean, Elizabeth B. Silva, Nicholas Thoburn, Kath Woodward
There is huge popularity around the Humanities and Social Sciences that our deliberations at the social have to ensue via consciousness to perform, to object-mediated family members, to non-human enterprise and to the affective dimensions of human sociality. This better half specializes in the items and fabrics came across at centre degree, and asks: what issues approximately objects?
Objects and Materials explores the sphere, offering succinct precis money owed of up to date scholarship, besides a wealth of recent examine investigating the ability of items to form, unsettle and exceed expectancies. unique chapters from over 40 overseas, interdisciplinary participants deal with an array of items and fabrics to invite what the phrases of collaborations with gadgets and fabrics are, and to think about how those collaborations develop into quintessential to our understandings of the complicated, relational dynamics that type social worlds.
Objects and Materials can be of curiosity to scholars and students around the social sciences and arts, together with in sociology, social conception, technology and know-how reviews, heritage, anthropology, archaeology, gender reports, women’s experiences, geography, cultural experiences, politics and diplomacy, and philosophy.
Read Online or Download Objects and Materials: A Routledge Companion PDF
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Additional info for Objects and Materials: A Routledge Companion
One of the things I did was put black paper inside the piano and effectively using the keyboard as a typewriter, by putting chalk on the piano hammers and playing the piano. 2 Helen Barff: Piano, 1999, felt, dust, rust and glue, 9 m x 150 cm sense of touch I mentioned. I also put photographic paper inside the piano and some lights, which cast shadows of the piano hammers onto the paper. Then I used felt because of felt being a material used inside the piano and being a sound absorbent material, as if it might hold all the sounds the piano had ever made.
H: Yes, so you often end up making something different to what you thought you were going to be making. G: So, what you end up making quite often surprises you? H: Yes, and you learn something. Although I know the recurring themes in my work and they always tend to come out, but not always as expected. With the clothes I wanted to cast the inside and the outside of clothes, trying to get the idea of a continual inside–outside space. So far what has come out is these very solid sculptures because of the material I was using.
The shape of it tells its story, or its history has determined its shape, if you see what I mean. It might be a piano with scratches on it or it might be a thing washed up by the Thames, which has been shaped by the river. With the latter I found a specific site, for example a beach in Greenwich, and went there to collect whatever I found, it is to do with the location of the object in that case. I then document or index that location through the objects that are found there. So, those objects are unexpected.