英戈尔德“制作”美学思想研究的国外论文分类

… of making—that we have sought to resolve (Ingold 2011a, p. 30). The experienced practitioner's knowledge of the properties of materials, like that of the alchemist, is not projected onto …

… Does growing span the intervals between fixed states of being, or does making punctuate … to making you the person you are today. And this takes us back to the idea of making as akin …

… Time is made present in the rhythms of making and rhythm is integral to style, to its aesthetic and … How do the aesthetic affordances of time and space link making and perceiving in …

Introduction In this article, we show that mainstream practices of design in western industrialized societies aspire toward a logic of form that reduces our ability to perceive the depth and …

… or aesthetics or take any symbolic systems into account. These fields carry little weight for Ingold … differences in ways of sensing and making sense must also be taken into account. …

… To explore this further, Tim considered how humans and nonhumans construct their own environments through inhabitation and making home, rather than simply as the result of a plan, …

… from the western philosophy of aesthetics, insofar as they set … to establish an alternative to this aesthetics of final forms. Its … the products of artifice, of skilled making. If sunsets attract by …

This path-following is given not in an engagement betweenpractitioners and the material world, by way of the senses, but in thecoupling of substantial flows and sensory awareness in a world of mate-rials.The remainder of what I have to say is no more than an ampli-fication of these points. I shall deal with each in turn.

… They are only being made, I claimed, when they are constructed in the imagination prior to their realisation in the material (Ingold 1986a: 40-78). But if the essence of making lies in the …

… about all sorts of materials that prehistoric people have used to make things. Yet I have … I really welcome Tim Ingold’s paper because intellectual debates about the meaning and …

… With examples from music, calligraphy and lace-making, I show that the wellsprings of creativity lie not inside people’s heads, but in their attending upon a world in formation. In this kind …

In his book Making: Anthropology, Archaeology, Art and Architecture, Tim Ingold describes human action after having studied the four fields mentioned in the title. The anthropologist recommends that researchers live with the group of people being studied. He criticizes the hylemorphic approach of human action, according to which human beings are seen to impose a preconceived form from their mind onto matter, or the material. Instead, he proposes a theory of life in society based on so-called lines of correspondence. Drawing on the cases of a prehistoric human being, a medieval craftsperson and an artist, he sees these to be experiencing, with other beings and with objects, lines of correspondence defined by attention and transformation and which are developed in a process.

Both art and anthropology, this chapter proposes, are future‐oriented disciplines, united in the common task of fashioning a world fit for coming generations to inhabit. The first step in establishing this proposition is to show how the objectives of anthropology differ from those of ethnography. Anthropology, it is argued, establishes a relation with the world that is correspondent rather than tangential, that priori‐ tises difference over alterity, and that places presence before interpretative contextualisation. The second step is to rethink the idea of research — to show how, as an open‐ended search for truth and a practice of corres pondence, research necessarily overflows the bounds of objectivity. Art and anthropology, then, and not natural science, are exemplary in the pursuit of truth as a way of knowing‐in‐being. The third step is to show that only if it is conceived in this way can research be conducive to the processes of renewal on which our collective futures depend. Thus research as correspondence is a condition for sustainability. But sustaina bility is nothing if it is not of everything. We have to begin, therefore, with the idea of everything as a plenum, in which each apparent addition is really a reworking. The chapter concludes with some reflections on the proposed synergy of art and anthropology for education, democracy and citizenship.

I would like to thank all four of my interlocutors for taking the trouble to comment on my text, and for the clarity and cogency of their contributions. They have forced me to think long and hard, and indeed to question my own conclusions. For me at least, and I hope also for readers of Archaeological dialogues, this has been a debate worth having, and it has been going on as much in my own mind as between myself and my critics.

… fingers are engaged in … engagement with materials as a vector of projection in the conversion of objects to images. Such is the difference between the practitioner's handling of materials …

Material Engagement Theory (MET), which forms the focus of this special issue, is a relatively new development within cognitive archaeology and anthropology, but one that has important implications for many adjacent fields of research in phenomenology and the cognitive sciences. In How Things Shape the Mind (2013) I offered a detail exposition of the major working hypotheses and the vision of mind that it embodies. Here, introducing this special issue, more than just presenting a broad overview of MET, I seek to enrich and extend that vision and discuss its application to the study of mind and matter. I begin by laying out the philosophical roots, theoretical context and intellectual kinship of MET. Then I offer a basic outline of this theoretical framework focusing on the notions of thinging and metaplasticity. In the last part I am using the example of pottery making to illustrate how MET can be used to inform empirical research and how it might complement new research in phenomenology and embodied cognitive science.

Artefacts are made, organisms grow: at first glance the distinction seems obvious enough. But behind the distinction, as I aim to show in this chapter, lie a series of highly problematic assumptions concerning mind and nature, interiority and exteriority, and the genesis of form. We have only to consider the artefactual status of such an everyday object as a basket to realise that the difference between making and growing is by no means as obvious as we might have thought. I shall begin this chapter by showing that the reasons why the basket confounds our expectations of the nature of the artefact stem from the fact that it is woven. If the basket is an artefact, and if artefacts are made, then weaving must be a modality of making. I want to suggest, to the contrary, that we should understand making as a modality of weaving. This switch of emphasis, I believe, could open up a new perspective not just on basketry in particular, but on all kinds of skilled, form-generating practices. But it would also have the effect of softening the distinction between artefacts and living things which, as it turns out, are not so very different after all.

In this article I offer an overture to social life, starting from the premise that every living being should be envisaged not as a blob but as a bundle of lines. I show that in joining with one …

Abstract Landscape and temporality are the major unifying themes of archaeology and social‐cultural anthropology. This paper attempts to show how the temporality of the landscape may be understood by way of a ‘dwelling perspective’ that sets out from the premise of people's active, perceptual engagement in the world. The meaning of ‘landscape’ is clarified by contrast to the concepts of land, nature and space. The notion of ‘taskscape’ is introduced to denote a pattern of dwelling activities, and the intrinsic temporality of the taskscape is shown to lie in its rhythmic interrelations or patterns of resonance. By considering how taskscape relates to landscape, the distinction between them is ultimately dissolved, and the landscape itself is shown to be fundamentally temporal. Some concrete illustrations of these arguments are drawn from a painting by Bruegel, The Harvesters.

Tim Ingold has over the past decades emerged as one of the most influential theoreticians of man–environment relations. This chapter discusses the relevance of Ingold’s work to the …

… That is to say, rather than setting the parameters for our habitation of the earth, design is part and parcel of the very process of dwelling (Ingold 2000). And it is, by the same token, about …

… It appears that there is no necessary relationship between fieldwork as correspondence in Tim Ingold’s terms and the values and knowledge interests that are fundamental to an…

Classical accounts of human evolution posit a progressive differentiation between the hands as instruments of rational intelligence and feet as integral to the mechanics of bipedal locomotion. Yet evolutionists were modelling pedestrian performance on the striding gait of boot-clad Europeans. The bias of head over heels in their accounts follows a long-standing tendency, in western thought and science, to elevate the plane of social and cultural life over the ground of nature. This tendency was already established among European elites in the practice of destination-oriented travel, the use of shoes and chairs, and the valorization of upright posture. It was further reinforced in urban societies through paving the streets. The groundlessness of metropolitan life remains embedded not only in western social structures but also in the disciplines of anthropology, psychology and biology. A more grounded approach to human movement, sensitive to embodied skills of footwork, opens up new terrain in the study of environmental perception, the history of technology, landscape formation and human anatomical evolution.

… meaning, finding it not in the correspondence between an external world and its interior … metaphor of the clearing, imagined as a space for dwelling that is opened up (that is, disclosed) …

… approaches in anthropology that treat art as a repository of works, already complete and available for analysis. Instead, our focus was not the creative processes that continually bring …

… Marcus, is investigating the possible relevance of the experimental design process in the applied arts for anthropological practices of experimental ethnography. Whilst mainstream …

… process in mind, but in order not to be embarrassed by our riches, we must select one phase of this process as the primary differentia of art … : relating art to the rest of culture, and making …

… , another an artist, the third trained in art and anthropology), each of us … process of making, to engage more expansively and reflexively with our assumptions about art and anthropology.…

… process that produced TMFH, which exemplifies for me the lost opportunity of the encounter between art and anthropology … particularly for the practice of anthropology in this evolution of …

… understanding of material properties, physical constraints, and phenomenological attributes … environment are undernourished in our current educational practice. If the richness of the …

… ideas might inform our thinking about material culture is … Ingold’s suggestion is that a consideration of the crafting of … viewing thinking as an embodied practice, and sees no observa…

Practice-based studies of organization have drawn attention to the importance of the body as a site of knowledge and knowing. However, relational encounters between bodies and objects, and the affects they generate, are less well understood in organization studies. This article uses new materialist theory to explore the role of affect in embodied practices of craft making. It suggests that craft work relies on affective organizational relations and intensities that flow between bodies, objects and places of making. This perspective enables a more affective, materially inclusive understanding of organizational practice, as encounters between human and nonhuman entities and forces. We draw on empirical data from a qualitative study of four UK organizations that make bicycles, shoes and hand-decorated pottery. We track the embodied techniques that enable vital encounters with matter and the affective traces and spatial, aesthetic atmospheres that emerge from these encounters. We suggest that a concern with the vitality of objects is central to the meaning that is attributed to craft work practices and the ethical sensibilities that arise from these encounters. We conclude by proposing an affective ethics of mattering that constructs agency in ways that are not confined to humans and acknowledges the importance of orientations towards matter in generating possibilities for ethical generosity towards others.

Scholars are increasingly recognizing that creativity is grounded in the active sensorimotor engagement with the environment and materiality. Affordances—recognizable pointers to action opportunities in the ecology—provide a helpful prism for analyzing how this happens. Creative practitioners, as they seek aesthetic opportunities or innovation, depend on their sensitivity toward potentialities in their action space. Presently, we apply a high-zoom lens to a crafts process, giving our micro-genetic research design an affordance focus. By investigating one of the authors, a ceramicist and a practitioner-researcher, through her process of making of a vase, we tracked how affordances are responded to, developed, shaped, invited or, where necessary, rejected, as the ceramicist “routes” her creative trajectory. Several insights emerge: (1) The ceramicist's decisions—initially about general directions, then about aesthetic details—unfold while engaging with the clay; they emerge in stepwise fashion, but with a holistic orientation. (2) Choosing among affordances requires parallel sensitivities to object functionality, aesthetics and creativity, as well as technical feasibility; adhering to the proper technical procedure that provides the very basis for creatively relevant affordances to later arise. (3) While the hands and eyes engage with short-lived affordances the ceramicist must keep in view higher-timescale affordances that ensure a good task progression for making a vase, and affordances for the material's overall “workability”. (4) The ceramicist typically relates to momentary affordances in light of expected as well as imagined others, to ensure a coherent end product. (5) Affordances contribute to material creativity in more ways than typically recognized in the literature. They range from serendipitous “finds” to options developed with a large degree of creative autonomy; affordances may also be indirectly invited and practitioners strategically change probability distributions as well as providing an enabling background for generative action. Thus, a crafts practitioner brings forth unconventional affordances through active engagement, using a mix of exploration, strategy, and imaginative potential. Affordance theorists err when stressing the possibility to just “find” creative options or that perceptual acuity is the sole skill.

"Our starting point is a phenomenological analysis of the concepts of hand and possibility in relation to human realization and expression, whereby the problem of hand and its movements can be followed in this framework in its peculiarity and uniqueness. With regard to possibility, we follow a certain shift in Husserl’s concept of possibility towards practical possibility, as well as some selected passages in his texts concerning corporeality and constitution. This phenomenological starting point is connected to the question of stimulation (potentiating) of the hand in the creative process; we draw upon insights in texts of a Finnish thinker and architect Juhani Pallasmaa and on examples from fields of art, technology and handicrafts. The goal of the text is the return to the hand and the revival of the sphere of original realization of the man, as opposed to uniformity, excess of impulses, tendency to manipulate or, on the other hand, desensitization, whereby we want to open up a space for stimulation of creativity and deepening of the experience on this basis, whose starting poin Keywords: body, touch, possibility, creation, craft, Edmund Husserl, Juhani Pallasmaa "

… line as a phenomenon, before putting any qualifiers like ‘natural’ or ‘cultural’ before it. Then this idea of life as a meshwork of lines of … I am a mere anthropologist. But I do take the straight …

This chapter explores the concepts of meshworks and entanglements as a particular lens through which to think about the worlds of medicine and health, including in relation to religion. The chapter puts forward these concepts as a heuristically fruitful and even powerful way to reflect on healthworlds. Building on the work of Tim Ingold and Ian Hodder, the chapter outlines how the concepts have been theorized. In unpacking these concepts, the chapter explores the many different pathways one might follow with meshwork and entanglement thinking, from thinking about the work of things to thinking with affective entanglements. The chapters uses ethnographic examples from a teaching hospital in western Tanzania to demonstrate how one could mobilize meshworks and entanglements in thinking about health. What is important to note, is that this chapter does not seek to present a totalizing perspective, rather it hopes to offer an invitation to different ways of thinking and seeing.

… meshwork. A network is a series of identifiable nodes with connections between them, while a meshwork is a maze of overlapping and intersecting lines. … as thing is to meshwork. Both …

This essay investigates the practical ways that artists and craftspeople cultivate mathematical sensibilities through their practical immersion in making and problem-solving. Mathematical sensibilities refer to skilled kinds of perception and heightened levels of attention and discernment regarding the qualitative properties of an object or composition, such as its shape, proportion, balance, symmetry, centredness, alignment or levelness. It also includes an ‘intuitive’ quantitative sense of volume, mass, weight, thickness and dimension. The objective of the investigation is not to describe the ways that a maker's existing knowledge and training in formal mathematics is put into practice, but rather to elucidate the ways that their practices of making produce kinds of ‘non-formalised’, context-dependent mathematical understanding and knowledge. The starting point for exploring embodied mathematizing is therefore not from the cognitive or neurosciences, psychology or formal mathematics, it is argued, but rather from a phenomenological approach – ‘an opening on the world’ – that attends to person, materials, tools and other physical and qualitative features that make up the total environment in which activity unfolds.

As metaphors of human existence, the idioms of theatricality and performativity both fluctuate between values of novelty and normativity: theatricality, between the essence of an art form and a cultural value variously opposed or embraced, performativity, between doing and dissimulation. To revert from drawing too sharp boundaries, either between the two phenomena or between their cognate art forms and everyday life, the article pursues to analyse them in “textural” terms specifically inspired by Tim Ingold’s ecological anthropology and Stephen C. Pepper’s philosophical pragmatism from the 1940s. Where Ingold’s ecology of lines admits to “no insides or outsides,” “trailing loose ends in every direction,” Pepper’s “contextualistic world” of events admits “no top nor bottom” to its strands and textures. After introducing Ingold’s networks of connected objects and meshworks of interwoven lines as shorthand terms for specifically theatrical and performative textures, their various dynamics are considered in terms of absorption and abstraction: on a global scale – I briefly consider the Anthropos(c)ene as theatrum mundi – seeing all the world as a stage indeed depends on something of a theatrical inversion of its lines of becoming. From the tensions of novelty and normativity, noted above, what emerges is a fabric philosophy of weaving and zooming between overlapping textures: if the performative names a dramaturgy of becoming, then the theatrical provides an optic for its analysis.

… of the history and anthropology of the line. I show that in any … The aesthetic focus of the Abelam is not on the surface but … “text” begin as a meshwork of interwoven threads rather than of …

… Anthropologist Tim Ingold terms this objectification inversion : ‘I use the term inversion to refer to the operation that wraps lines … another form of meshwork elegantly woven by lines of the …

… meshwork where each robotic flower and each of the elements that compose it or have contributed to its making are represented as squiggly lines … Here we bring meshworks and actors …

<title>Abstract</title> Scholars working from a culturalistic position are adamant that people give meaning and make meaning; they inscribe on to what Ingold (2010b, p. 126) calls hard surfaces the cognitive and symbolic ascriptions needed to construct social reality. Two foundational assumptions underpinning this locality of thinking are: (i) there is a unilinear directionality to impacting, and people do all the impacting, constructing and ascribing; one could say that humans are therefore the only agents of construction; and (ii) arguments are formulated as if the cognitive thought-spark is always the genesis of meaning. I believe, however, that by applying ethnographic evidence gleaned from domestic pilgrimages to sacred sites in the eastern Free State, South Africa, I will demonstrate that landscapes, dreamscapes and personscapes are inextricably entangled and not simply inscribed by human agents as advocates of the culturalistic perspective propose. I am arguing that three incorporated domains, landscapes, dreamscapes and personscapes, in the context of pilgrimages, are non-linear, multi-dimensional and often unpredictably interconnected as they come into existence. Five years of ethnographic fieldwork to and at the sacred sites of Mautse, Motouleng and Mantsopa have left no doubt as to the animacy of the sites, these pilgrimages and occasional and more permanent site users. Landscapes, dreamscapes and personscapes are pilgrimage meshworks.

This paper proposes a relational history of media artifacts, which decentralizes the dominance of the photographer or filmmaker as the absolute author of the work. It adds an alternative account to understanding the creative process and the subsequent study of media forms by discussing film and photographic practices as the reciprocal affective relationship between the maker, their intentions, materials, technologies, non-human agents and the environment. By reorganizing the anthropocentrism of art historical narratives, which typically exclude corporeality and materiality as drivers of human history, we are able to discuss the complex dynamic meshwork of determinants that bring photographic artifacts into existence: the lived, animate, vital materialism at once emergent and mixing of different causalities and temporalities. Within this position, I will provoke discussions of cognition and photography by recalibrating the moment of acting to a model that recognizes a distributed nature of human action into the material world of things. This new materialist position has repercussions for the way we understand processes of creativity and the emergence of media artifacts—seeing these as always already entangled and enmeshed across various corporeal and material, platforms and scales. This paper uses photography as a case study to discuss the broader theme of co-creation between humans, machines and the environment. Using documentary evidence from the archive, I sustain this argument by making a close reading of a particular photographer’s contact sheet, which shows up some of the dynamics of the relational meshwork playing upon the photographer in the field. Through this reading we can begin to think about the implications for the way we understand the emerging aesthetic discourse of technological photographic practices and, more broadly, the cocreative domains of all human activity.

… In contrast, we find that the lines in Ingold's meshwork are premised on an entirely different … me to produce work of a similar aesthetic rather than craft a piece of anthropology about it. As …

This article presents a defense of the concept of materiality in the face of Tim Ingold’s critique of the concept as part of his “efforts to restore anthropology to life” in Being Alive and elsewhere. While acknowledging the forcefulness of Ingold’s stress on the “liveliness” of materials, and doctrine of perception “as action” (not representation), it critiques the way he neuters the perceiving subject, abstracts the senses, disregards the sensuous pleasures of making, and elides the sensori-social life of things. Three case studies are presented by way of illustration: the sensorial archaeology of perception, the “exuberant materiality” of the Byzantine bas-relief metal icon, and the tactility of “ladies’ craftwork” in the eighteenth and nineteenth century. In place of Ingold’s ideal-typical figures – the rootless wayfarer, the skilled craftsman – this article brings out the situatedness of the human subject within a particular tradition, or sensory and social regime, and how this mediates their construction and perception of things and other persons.

… Materiality emerges from how societies assign meaning and … Accordingly, this study adopts a perspective that views materiality as … and materials typically involves perception [1]. Material …

This article discusses the accessibility of sensory experience in archaeological research by proposing an approach that articulates the role imagination plays in the investigation of empirical data from the distant past. Building on interdisciplinary work in sensory studies, this article argues that sensory experiences are both culturally constructed and biologically mediated, emphasizing how the dynamic interplay between perception and materiality reveals the values embedded in ancient sensory-based desires. The author concludes by applying the theoretical and methodological approaches discussed throughout to a case study on ancient Egyptian head cones, demonstrating how archaeology can uncover the complex and consequential nature of ancient sensory experience. Sensory archaeology may advance not only by developing new ways to answer questions, but by reconsidering how we ask them.

… For this article, perception and processes of perception are crucial, therefore I will take a different turn in phenomenology than Böhme does – a turn that is going into the direction that …

… making, for example, “prosessual paths” to be walked or “interrogative designs” to modulate and intensify the habits, dispositions, gestures, and speakings that make up the materiality …