Design Dispersed: Design History, Design Practice and Anthropology

This special issue is part of a rising tide of literature dedicated to design in the disci-pline of anthropology. In this publication, we respond supportively to Lucy Suchman’s call that ‘[. . .] we need less a reinvented anthropology as (or for) design than a critical anthropology of design’.1 Arriving at this academic moment entails at least two schol-arly trajectories that have been hitherto distinct, concerning how anthropology has engaged with design history on the one hand, and with design practice on the other

Introduction: Ireland's new ethnographic horizons

An appropriate entry point to our discussion of ethnographic collections in Ireland is the remarkable history of an assemblage of non-European ethnographic artefacts housed in the National Museum of Ireland (NMI), Dublin. The 12,500 artefacts from the Pacific, the Americas and Mrica are described as 'one of the finest collections of that kind in the world' (Hart 1995, 36). In contrast to a parallel collection in the Ulster Museum, Belfast, which for some time has been drawn on for exhibitions, this collection has been out of view for a considerable period. Indeed, William Hart writes that '[t]he Mrican collections of the National Museum of Ireland are one of its bestkept secrets' (ibid., 36). One of its constituent units-the O'Beirne Collection-'has never been on view to the public' and has been 'totally forgotten' (ibid.). While these collections have been largely kept in crated storage from 1979 to 2002, a permanent exhibition space is now being planned. This unveiling of an extensive collection in the National Museum comes at a time of extensive rethinking of ethnography and its artefacts-both nationally and internationally, academically and in practice. And though ethnographic exhibitions are not an uncommon presence in many European capitals, in Ireland the disclosure of this 'absent presence' (Buchli and Lucas 2001) suggests a potentially fruitful medium to refract shifting identities within the island of Ireland

How Hertzian solitary waves interact with boundaries in a 1-D granular medium

We perform measurements, numerical simulations, and quantitative comparisons with available theory on solitary wave propagation in a linear chain of beads without static preconstrain. By designing a nonintrusive force sensor to measure the impulse as it propagates along the chain, we study the solitary wave reflection at a wall. We show that the main features of solitary wave reflection depend on wall mechanical properties. Since previous studies on solitary waves have been performed at walls without these considerations, our experiment provides a more reliable tool to characterize solitary wave propagation. We find, for the first time, precise quantitative agreements.Comment: Proof corrections, ReVTeX, 11 pages, 3 eps (Focus and related papers on http://www.supmeca.fr/perso/jobs/

Care, cleanliness and consumption in urban Romania

SIGLEAvailable from British Library Document Supply Centre- DSC:DXN055689 / BLDSC - British Library Document Supply CentreGBUnited Kingdo

An Exploration by Way of Introduction: Design and the Having of Designs in Ireland

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Introduction: Ireland's new ethnographic horizons

An appropriate entry point to our discussion of ethnographic collections in Ireland is the remarkable history of an assemblage of non-European ethnographic artefacts housed in the National Museum of Ireland (NMI), Dublin. The 12,500 artefacts from the Pacific, the Americas and Mrica are described as 'one of the finest collections of that kind in the world' (Hart 1995, 36). In contrast to a parallel collection in the Ulster Museum, Belfast, which for some time has been drawn on for exhibitions, this collection has been out of view for a considerable period. Indeed, William Hart writes that '[t]he Mrican collections of the National Museum of Ireland are one of its bestkept secrets' (ibid., 36). One of its constituent units-the O'Beirne Collection-'has never been on view to the public' and has been 'totally forgotten' (ibid.). While these collections have been largely kept in crated storage from 1979 to 2002, a permanent exhibition space is now being planned. This unveiling of an extensive collection in the National Museum comes at a time of extensive rethinking of ethnography and its artefacts-both nationally and internationally, academically and in practice. And though ethnographic exhibitions are not an uncommon presence in many European capitals, in Ireland the disclosure of this 'absent presence' (Buchli and Lucas 2001) suggests a potentially fruitful medium to refract shifting identities within the island of Ireland

Introduction: Ireland's new ethnographic horizons

An appropriate entry point to our discussion of ethnographic collections in Ireland is the remarkable history of an assemblage of non-European ethnographic artefacts housed in the National Museum of Ireland (NMI), Dublin. The 12,500 artefacts from the Pacific, the Americas and Mrica are described as 'one of the finest collections of that kind in the world' (Hart 1995, 36). In contrast to a parallel collection in the Ulster Museum, Belfast, which for some time has been drawn on for exhibitions, this collection has been out of view for a considerable period. Indeed, William Hart writes that '[t]he Mrican collections of the National Museum of Ireland are one of its bestkept secrets' (ibid., 36). One of its constituent units-the O'Beirne Collection-'has never been on view to the public' and has been 'totally forgotten' (ibid.). While these collections have been largely kept in crated storage from 1979 to 2002, a permanent exhibition space is now being planned. This unveiling of an extensive collection in the National Museum comes at a time of extensive rethinking of ethnography and its artefacts-both nationally and internationally, academically and in practice. And though ethnographic exhibitions are not an uncommon presence in many European capitals, in Ireland the disclosure of this 'absent presence' (Buchli and Lucas 2001) suggests a potentially fruitful medium to refract shifting identities within the island of Ireland

Introduction: Ireland's new ethnographic horizons

An appropriate entry point to our discussion of ethnographic collections in Ireland is the remarkable history of an assemblage of non-European ethnographic artefacts housed in the National Museum of Ireland (NMI), Dublin. The 12,500 artefacts from the Pacific, the Americas and Mrica are described as 'one of the finest collections of that kind in the world' (Hart 1995, 36). In contrast to a parallel collection in the Ulster Museum, Belfast, which for some time has been drawn on for exhibitions, this collection has been out of view for a considerable period. Indeed, William Hart writes that '[t]he Mrican collections of the National Museum of Ireland are one of its bestkept secrets' (ibid., 36). One of its constituent units-the O'Beirne Collection-'has never been on view to the public' and has been 'totally forgotten' (ibid.). While these collections have been largely kept in crated storage from 1979 to 2002, a permanent exhibition space is now being planned. This unveiling of an extensive collection in the National Museum comes at a time of extensive rethinking of ethnography and its artefacts-both nationally and internationally, academically and in practice. And though ethnographic exhibitions are not an uncommon presence in many European capitals, in Ireland the disclosure of this 'absent presence' (Buchli and Lucas 2001) suggests a potentially fruitful medium to refract shifting identities within the island of Ireland