Downloads: Not sure if you need to make an account to get these, but it works for me.:
Pantomime Terror: Diasporic Music in a Time of War
Music for Euro-Maoists: On the Correct Handling of Contradictions among Pop Stars
CLIFFORD GEERTZ AS A CULTURAL SYSTEM: A Review Article
SAFE || Eruptions: NYC MustTagAliens
Marlène Ramírez-Cancio, Brenda Iijima, Delores Jones-Brown, Diana Taylor, Gil Anidjar, Gregory Fried, Hamid Dabashi, John Hutnyk, Linda Martín Alcoff, Steven Pludwin, Daniel Skinner and Sunita Viswanath
Comparative Anthropology and Evans-Pritchard’s Nuer Photograph y
The Dialectic of Here and There: Anthropology ‘at Home’ and British Asian Communism1
Sexy Sammy and Red Rosie? From Burning Books to the War on Terror
Bataille’s Wars: Surrealism, Marxism, Fascism
Adorno at Womad: South Asian crossovers and the limits of hybridity-talk
The chapatti story: how hybridity as theory displaced Maoism as politics in Subaltern Studies
Book reviews : The Cambridge Survey of World Migration Edited by ROBIN COHEN (Cambridge, Cambridge University Press, 1995) 570pp. 75.00
Photogenic Poverty: Souvenirs and Infantilism
Media, Research, Politics, Culture: Review article
this is, you know, pretty great.
Please visit the show on the theme of Imaginary Ethnography in Experimental Music and Sound
on the web space of Jeu de Paume: Fourth Worlds
Fourth Worlds – Imaginary Ethnography in Experimental Music and Sound
Commissioner: Stefanie Kiwi Menrath
While cultural mixing has been a reality of all societies since time immemorial, there also exists a long history of circumscribing cultures as separate and geographically localized entities. Ethnographic field recording functions as part of this history of positioning and differentiating music cultures in the way that it links sounds to localities and positions them within a cultural cartography. In recent decades, a number of artists have countered static notions of culture and ideas of a territorialisation of music and sound with critical strategies of imagination and the imaginary. Through their work they ask: What are the imaginations inherent in the documentary technique of ethnography? How does the modern technology of field recording perpetuate a Eurocentric perspective of culture? Can sonic speculation destabilize cultural essentialisms or stimulate critical counter-memories?
Composer and trumpeter Jon Hassell set the stage with his eponymous 1980 album Fourth World Vol. 1: Possible Musics (reissued in 2014): « I wanted the mental and geographical landscapes to be more indeterminate – not Indonesia, not Africa, not this or that »… « Something that could have existed if things were in an imaginary culture, growing up in an imaginary place with this imaginary music”. In Hassell’s music the notion of “Fourth World” creates an imaginary place for musical and cultural exchange: beyond the utopia of a conflict-free cultural melange or the dystopian clash of cultural forms, it offers to transcend merely additive notions of contact. Hassell’s “Fourth World” draws on the “otherworldly” quality of music as such: not as an extension of the literal, developmental three-world-model, but as an experimental exploration of the spatial and temporal references of music and sound.
Taking Hassell’s notion of Fourth World as a conceptual formation (not as a musical genre), « Fourth Worlds » (note the plural) turns its focus to a series of artistic approaches that navigate the history and present tense of violently colonial, playfully postmodern or brashly contemporary cultural differentiations. « Fourth Worlds » aims to resonate with transcultural sonic thinking that, as in Paul Gilroy’s Black Atlantic, elucidates the performative and mobilizing dimension of sound and the restless, recombinant qualities of diasporic cultures criss-crossing oceans and resisting monolithic notions of “roots”. In this context, imagination has also been rightly critiqued at length as an instrument of domination and “othering”: imagination plays its part in the spatiotemporal distancing from “other”, “traditional” or “ethnic” cultures – for example in the cartography of former “colonies” and “nation states” and in narratives of the “other”.
Imagination is central not only to this history but also plays a crucial role in contemporary practices of ethnography – be they applied to the field of art or in cultural studies. Strategies of imaginary ethnography think these fields together and methodically reassess imagination. Imaginary ethnography alludes to both the productive capacity of imagination and its reproductive elements: it relates to the “cultural imaginary “ as a negotiation of a vast archive of images and socially shared imaginations about “others”, but it also activates imagination as a creative capacity of making appear a new image of something that neither is nor was.
Taking this as its starting point, « Fourth Worlds » brings together a selection of musical and sound artists and theorists who question the discourse of “otherness” through speculation. Dubious origin myths, mock music archives and phantom atlases, counter-memories and digital diasporic nations as well as islands empathically tied by pacifism, imaginative travel journals, future archaeologies or reconstructions of soon to be lost worlds – the pieces selected for this exhibition project musical and artistic counterstrategies to the ethnographic urge of fixing cultures to places.
Good to see Terror and the Tour appear (in 2016 – I’m a little slow) in Liminalities journal and give Peter Phipps and Malcolm Crick a deserved nod, since they really set the tone for so much subsequent work, including anything I did. Click on the image for the pdf of the issue intro:
22 years ago my first book was typeset and laid out in the days before electronics – well, an electric typesetting machine was plugged into a wall, but no digital file was produced. Nevertheless, I had crossed out the digital rights clause in my contract with Zed so I own this. At last some kind anonymous soul has bootlegged it and set digital copy free on the nets, though its a large scanned file and the bibliography was left off (I’ve made a rough scan of the biblio but that too is a large file). Nevertheless, notwithstanding, and such like phrasings, the book is still one of which I am proud, if nothing else for trialling a way of citing tourist backpacker-informants, for its stuff on photography and maps and for the reviews it got (and indeed keeps getting discussed, for example on films – see diekmann2012) and especially for its critique of charity and what charity is for. In the context of do-gooder well-meaning hypocrisy, the effort of charity workers serves wider interests as well as their own, and only marginally any individuals they help – who would be better helped in better funded state-run facilities if the funds extracted through business-as-usual colonialism were, you know, made as reparations for the several hundred years of colonial plunder. Ah well, the critique stands up, the charity industry sadly thrives, second only perhaps to weapons in terms of so-called development, writing books does not yet always change the world as much as you’d like (and no, I did not ever think a book would single-handedly stop Mother Theresa, but…).
I would welcome new readers.
Download The Rumour of Calcutta here: [John_Hutnyk]_The_rumour_of_Calcutta__tourism,_ch
Biblio here. Rumour biblio
And this retrieved by Toby:
Anna Lowenhaupt Tsing has written an amazing book. The Mushroom at the End of the World (2015) is all about forests and foraging and revitalising teaching and diasporas and and and – it’s a dense thicket and forest of meanings. There is much in it, but towards the end where generalities are I guess expected, it is only possible to nod sadly in agreement:
“ONE OF THE STRANGEST PROJECTS OF PRIVATIZATION and commodificarion in the early twentieth-first century has been the movement to commoditize scholarship. Two versions have been surprisingly powerful. In Europe, administrators demand assessment exercises that reduce the work of scholars co a number, a sum total for a life of intellectual exchange. In the United States, scholars are asked to become entrepreneurs, producing ourselves as brands and seeking stardom from the very first days of our studies, when we know nothing. Both projects seem to me bizarre — and suffocating. By privatizing what is necessarily collaborative work, these projects aim to strangle the life out of scholarship” page 285
The book is very much worth a look and could be a model for research presentation on global commodity chains and/or Trinketization.
From: The Global Nomad: Backpacker Travel in Theory and Practice
edited by Dr. Greg Richards, Dr. Julie Wilson 2004
And From: A Common Mission: Healthy Patterns in Congregational Mission Partnerships
By David Wesley 2014
Rereading Jay Murphy’s book Artaud’s Metamorphosis and thinking about the 30,000 pages of notes Marx is said to have written in the last ten years of his life – and which are only slowly being released through the MEGA. Then find Jay has the following on page 207:
Artaud’s last works are above all, an action, a setting of forces into motion. In examining how he accomplishes this, largely from the springboard of the copious 406 lined school notebooks of which there are some more than 30,000 pages, at times there is the temptation to mimic his method by fracturing the field, separating out the elements that come into conflict, such as sound image text, or even their constituent bodily sources, and it is by such recourse that I isolate the treatment of the face and the voice at the end of this chapter; to see better how they interact, meld, hover, disintegrate or invade other elements…
I won’t reproduce his analysis because the whole book needs to be bought, and the notes still need to be written, but along with Walter Benjamin’s obsession with certain notebooks, whatever was in that case, add also anthropology’s note-writing fix exemplified in Mick Taussig’s drawings for I swear I saw This, and the entire complex of more or less uncanny parallels that revolve around the lined page, schoolbook or not, I’m hankering to generate some sort of method for handling the detritus of the (allegedly) declining years. Plus starting a new journal for my eldest now.
Artaud’s Metamorphosis is available in Berlin at Buchhafen. Or by post from Pavement.