Starting from the assumption that aesthetic is an anthropological fact which like language or symbolic thought belongs to the behavioral, cognitive and social register of our species, the article aims to clarify the uses of the category of aesthetic in the human sciences (social anthropology, cognitive psychology, evolutionary anthropology). The epistemological analysis focuses on the implicit assumptions that guide the different methodologies and leads to the elaboration of a conceptual map of the several models of aesthetic adopted in the contemporary (...) debate. Such a result is presented as a preliminary analytical step aimed at fostering an interdisciplinary approach to the complexity and socio-biological diversity of aesthetic phenomena. // Lo estético es un hecho antropológico que —como el lenguaje o el pensamiento simbólico— pertenece al registro comportamental, cognitivo y social de nuestra especie. A partir de esta consideración, el artículo pretende aclarar los usos de la categoría de lo “estético” en las ciencias humanas (antropología social, psicología cognitiva, antropología evolutiva). La investigación epistemológica se concentra en los supuestos implícitos que guían las diferentes metodologías y enfoques teóricos, y finalmente propone un mapa conceptual de los modelos estéticos adoptados en el debate contemporáneo. Este resultado se presenta como un paso analítico preliminar destinado a promover un enfoque interdisciplinario de la complejidad y diversidad sociobiológica de los fenómenos estéticos. (shrink)

Recent theories of art that subscribe to the view that art objects are agents enchanting their target audience, have tended to explain the operation of art objects as an agent–patient dynamic, a causal nexus of agency. They face a challenge, however, when they also aspire to embrace the idea – dominant in modernist and contemporary art theory – that the function of art is to unsettle its spectators’ habitual ways of perceiving and understanding, that is, to disenchant them: If artworks (...) are to be understood as agents enchanting their recipients, how can they be forces of disenchantment at the same time? I argue that the shift in perspective from perceiving art objects as enchanting agents to approaching them as possible means of gaining cognitive distance is inadequately addressed by these theories. (shrink)

How do archaeologists make effective use of physical traces and material culture as repositories of evidence? Material Evidence is a collection of 19 essays that take a resolutely case-based approach to this question, exploring key instances of exemplary practice, instructive failures, and innovative developments in the use of archaeological data as evidence. The goal is to bring to the surface the wisdom of practice, teasing out norms of archaeological reasoning from evidence. -/- Archaeologists make compelling use of an enormously diverse (...) range of material evidence, from garbage dumps to monuments, from finely crafted artifacts rich with cultural significance to the inadvertent transformation of landscapes over the long term. Each contributor to Material Evidence identifies a particular type of evidence with which they grapple and considers, with reference to concrete examples, how archaeologists construct evidential claims, critically assess them, and bring them to bear on pivotal questions about the cultural past. -/- Historians, cultural anthropologists, philosophers, and science studies scholars are increasingly interested in working with material "things" as objects of inquiry and as evidence – and they acknowledge on all sides just how challenging this is. One of the central messages of the book is that close analysis of archaeological best practice can yield constructive guidelines for practice that have much to offer practitioners within archaeology and well beyond. (shrink)

Desde os anos 1990, Laymert Garcia dos Santos vem, não apenas articulando sinergias consistentes doxamanismo yanomami com a arte contemporânea, como também reiteradamente colocando à prova a hipótese,via de regra formulada nos termos de Gilbert Simondon, de que “o primeiro técnico é o pajé, o medicine man, [...] [o]xamã”, que “traz para sua comunidade um elemento novo e insubstituível produzido num diálogo direto com o mundo,um elemento escondido ou inacessível para a comunidade até então”. Proponho neste texto retomar alguns casosetnograficamente (...) documentados de “xamaquinismos” audiovisuais à luz da hipótese simondoniana reformulada porGarcia dos Santos: se os xamãs são os primeiros técnicos, não seria pelo mesmo motivo que são também os primeirosartistas?, i.e.: por operarem reticularmente, sobre nós de articulação entre realidades normalmente incompatíveis?;por acessar, em bloco e de forma controlada, num aqui-agora singular, a presença de grandes potências normalmentedispersas num alhures-outrora inacessível e incontrolável? (shrink)

A critical study of the concept of form in Adorno’s writings on art and literature. Adorno’s Poetics of Form is the first book-length examination of the elusive deployment of the concept of form in Adorno’s writings on art and literature, and the first monograph to offer a comprehensive account of the relation of these writings to his broader philosophical project. It examines form within the constellation of concepts that exist around it, considering how it appears when seen in conjunction with (...) and in opposition to content, expression, genre, and material. Illuminated from these angles, form is revealed as the site of a complex web of dynamic conceptual interactions. The book thus offers a resolution to a problem in Adorno’s work that has remained unsolved for several decades, and in doing so sets out the consequences of Adorno’s poetics for literary and critical theory today. (shrink)

Pleasure, the defining object of kāmaśāstric scholarship, is harmonious sensory experience, the product of a “good fit” between the self and the world. It comes about when one moves in a world of fitting sense objects, and one has made oneself fit to enter that world. The bulk of kāmaśāstric literature is devoted to developing, enhancing, and enacting specific bodily and sensory capabilities in order to maximize one’s ability to affect and be affected by the world. This article examines the (...) model of subjectivity implied by kāmaśāstra, tracking two sorts of changes to the self assumed by this body of texts. First, it presents and analyzes the ways in which the social actors described in this literature come into being in and through the cultivation and performance of particular bodily and social acts; the “artifactual” nature of the self is presumed. Second, it considers the changing set of acts that are described and prescribed over the course of kāmaśāstric history, noting the increasing place of physiognomy and of magico-medical alterations of the body, and the elision of the social sphere of sensual activity. Finally, this article situates the kāmaśāstric model of subjectivity in relation to the larger śāstric project, drawing out the model of empiricism that it presupposes, and speculating upon the epistemological/ontological implications of kāmaśāstra as a science. (shrink)

Taking its cue from the articles in this special issue, this introduction explores what value a critical engagement with Strathern’s work might have for the social sciences by setting such an engagement in motion. It argues that Strathern’s writings are a particularly fruitful starting point for reflecting on our assumptions about what exactly theory might be and how and where it may be made to travel. Through the juxtaposition of articles published in this special issue and Strathern’s writings on Melanesia (...) it explores the theorization of power in the social sciences as one arena in which Strathernian strategies might be harnessed in order to reflect on and extend Euro-American concepts. It also takes Strathern’s own interest in gardening as a metaphoric base for generating novel topologies of subject and object, the particular and the general, and the concrete and the abstract. This introduction does not provide a primer for ‘Strathernian theory’. Instead it reviews some of the original strategies and techniques – differentiation, staging of analogy, surprise, bifurcation, the echo, and an unremitting focus on how we make our familiar categories of analysis known to ourselves – that Strathern has used to ‘garden’ her theory: it can be used, if you like, as a conceptual toolkit. (shrink)

The lexicon of religion has been widely used in the context of the social and cultural transformations associated with the ‘digital revolution’, whether in metaphoric or in realistic terms. The study of digital magic/magic in digital times, the other side of the coin of the Sacred 2.0, is still in its infancy. Yet, references to magic are made frequently in reflections about the rapid development of the digitalisation of society and culture, and they deserve more in-depth study. This paper tackles (...) the issue of magic in and of new technologies, including artificial intelligence devices. After a broad outline of the presence of magic in the digital ecosystem, this paper will focus on the lexical surface and semantic references to ‘magical thinking’, explore the underlying reasons for such references and unveil the regimes of existence for magic. Finally, the paper questions the role of language in the construction of a ‘digital magic’ and the transformations of the semantic category of magic as seen through the prism of a cultural revolution, that of the digitalisation of societies. (shrink)

Drawing on Simondon’s vision of the primitive magical universe - the original harmonious mode of existence of the human in the world - the chapter proposes that a new algorithmic magical and animistic universe is in the making in our contemporary computational world. By framing the immersive experience of computation and its sensibilities, perceptions and affects through Simondon’s magical unity where humans are integral part of a totalizing and harmonious whole, the chapter looks at the black mirrors of our digital (...) screens as the portals into a new magical and animistic reticulation of the human and the nonhuman. This perspective locates the algorithm within a genealogy of the relationship between technology and magic, and reads it as a mysterious form of nonhuman intelligence performing in inscrutable ways. It is the increasing autonomous agency and digital uncertainty of algorithms that engenders a new magical and animistic universe. (shrink)

The concept of magic is frequently used to discuss technology, a practice considered useful by some with others arguing that viewing technology as magic precludes a proper understanding of technology. The concept of magic is especially prominent in discussions of artificial intelligence and machine learning. Based on an anthropological perspective, this paper juxtaposes ML technology with magic, using descriptions drawn from a project on an ML-powered system for propulsion control of cargo ships. The paper concludes that prior scholarly work on (...) technology has failed to both define magic adequately and use research into magic. It also argues that although the distinction between ML technology and magic is important, recognition of the similarities is useful for understanding ML technology. (shrink)

El presente texto pretende reivindicar agencias materiales en las prácticas de la pintura al óleo. El artículo comienza presentando algunos debates sobre la importancia de la materialidad desde una estética posthumana, relacional y ecológica inspirada por las teorías de los nuevos materialismos y sus distintos anclajes (la teoría del actor-red, las epistemologías feministas de la tecno-ciencia, la ontología orientada a los objetos o la cultura material post fenomenológica). A continuación, presentaré algunos ejemplos de mediaciones o hibridaciones socio-técnicas en la pintura (...) al óleo donde agencias humanas y no humanas se involucran para articular y sostener los cuadros; pero también para traicionar, interrumpir y asombrar las intenciones de sus autores, la estabilidad de sus pigmentos y la autenticidad de su apreciación estética. Finalmente, desplegaré un proceso de ontogénesis material de un instrumento pictórico, la paleta, como agenciamiento esperanzador para abandonar los dualismos de la modernidad estética. (shrink)

Contemporary ICTs such as speaking machines and computer games tend to create illusions. Is this ethically problematic? Is it deception? And what kind of “reality” do we presuppose when we talk about illusion in this context? Inspired by work on similarities between ICT design and the art of magic and illusion, responding to literature on deception in robot ethics and related fields, and briefly considering the issue in the context of the history of machines, this paper discusses these questions through (...) the lens of stage magic and illusionism, with the aim of reframing the very question of deception. It investigates if we can take a more positive or at least morally neutral view of magic, illusion, and performance, while still being able to understand and criticize the relevant phenomena, and if we can describe and evaluate these phenomena without recourse to the term “deception” at all. This leads the paper into a discussion about metaphysics and into taking a relational and narrative turn. Replying to Tognazzini, the paper identifies and analyses two metaphysical positions: a narrative and performative non-dualist position is articulated in response to what is taken to be a dualist, in particular Platonic, approach to “deception” phenomena. The latter is critically discussed and replaced by a performative and relational approach which avoids a distant “view from nowhere” metaphysics and brings us back to the phenomena and experience in the performance relation. The paper also reflects on the ethical and political implications of the two positions: for the responsibility of ICT designers and users, which are seen as co-responsible magicians or co-performers, and for the responsibility of those who influence the social structures that shape who has power to deceive or to let others perform. (shrink)

The Summa predicantium compiled in the second quarter of the fourteenth century by the English Dominican John Bromyard (d. ca. 1352), has a number of things to say about invention in art or archite...