Lineages and Advancements in Material Culture Studies

This volume comprises a curated conversation between members of the Material Culture Section of University College London Anthropology. In laying out the state of play in the field, it challenges how the anthropology of material culture is being done and argues for new directions of enquiry and new methods of investigation. The contributors consider the ramifications of specific research methods and explore new methodological frameworks to address areas of human experience that require a new analytical approach. The case studies draw from a range of contexts, including digital objects, infrastructure, data, extraterrestriality, ethnographic curation, and medical materiality. They include timely reappraisals of now-classical analytical models that have shaped the way we understand the object, the discipline, knowledge formation, and the artefact

Lineages and Advancements in Material Culture Studies

This volume comprises a curated conversation between members of the Material Culture Section of University College London Anthropology. In laying out the state of play in the field, it challenges how the anthropology of material culture is being done and argues for new directions of enquiry and new methods of investigation. The contributors consider the ramifications of specific research methods and explore new methodological frameworks to address areas of human experience that require a new analytical approach. The case studies draw from a range of contexts, including digital objects, infrastructure, data, extraterrestriality, ethnographic curation, and medical materiality. They include timely reappraisals of now-classical analytical models that have shaped the way we understand the object, the discipline, knowledge formation, and the artefact

Technology in Process: From the History of American Material Culture Studies

研究ノー

PHOTOGRAPHS IN THE MATERIAL CULTURE STUDIES

Фотографии - это не только образы, но и вещи. Артефакты как вещи или предметы культуры, это объектификации деятельности, в этих проекциях берет начало рефлексия. Активны не только люди. Артефакты образуют единство материального и имматериального, Имматериальное - это открывающаяся вещью другая реальность. Если знак обладает значением, то вещь обладает значимостью. Фотографии обладают всеми чертами артефактов, могут открывать другую реальность, могут обладать властью над людьми.Photography is not just images, but also things. Artifacts such as things of culture, it is the objectification of activity, in these projections is the beginning of the reflection. Artifacts form a unity of material and immaterial, the immaterial is the opening by thing another reality. If the sign has the meaning that thing has relevance. The photographs have all the characteristics of artifacts: that can open a another reality, can have power over people.46-5

Mortuary culture

The Routledge Handbook of Material Culture in Early Modern Europe marks the arrival of early modern material culture studies as a vibrant, fully-established field of multi-disciplinary research

Subjectivity and the Cultural Constraints of Academic Literature in Material Culture: An Investigation into the Discussion of Pattern and Symbol in Persian Carpets

This paper examines the academic literature on material culture, focusing on inherent cultural standpoints within the European tradition and the impossibility of arriving at an objective position. With regard to the study of the symbolism in Persian carpets, material science approaches the subject with a number of preconceived concepts that colour the interpretation it offers. Persian carpets have been interpreted within European art for over four hundred years, and this has led to a variety of concepts being integrated into the academic perception of them. In particular, it will be shown that methods of valuing Persian carpets over the course of the last century have come to dictate much of the basis on which their patterns and symbols are discussed. The article concludes that ultimately, material culture studies objects from within the confines of its own cultural environment, and does not offer an interpretation that is relevant to the culture in which those objects were created