Tim Ingold

This paper critically reviews the current status of the concept of distance in human geography in order to argue that recent experimentally-driven work in construal-level theory offers ample opportunities for recasting distance as a key geographical trope. After analysing the four entangled dimensions of distance revealed by construal-level theory (spatial distance; temporal distance; social distance; and hypothetical distance), the paper articulates this research program from experimental psychology with geographical work on non-representational theory, geographical imaginations/imaginative geographies, learning as a geographical process, TimeSpace theorizing, and ontogenetic understandings of space. It is argued that the subjective understanding of distance afforded by construal-level theory can rescue distance from its entrenched association with positivistic geography and spatial analysis. https://doi.org/10.1016/j.geoforum.2016.07.018

This is an essay about the connections between the passage of time and the condition of archaeological knowledge. It revisits Tim Ingold’s 1993 paper ‘The Temporality of the Landscape’, considering its relationship with the phenomenological and interpretive archaeologies of the 1990s and what we learn from it today. Engaged not so much in an ‘ontological turn’ as in a kind of archival return, the essay compares Ingold’s discussion of Bruegel’s painting The Harvesters (1565) with an archaeological photograph from 1993. A discussion of the after-effects of performance follows, and four theses about temporality, landscape, modernity and revisiting are put forward: 1) The passage of time transforms archaeological knowledge; 2) Archaeological knowledge transforms the passage of time; 3) An archaeological landscape is an object that is known through remapping; 4) Archaeological knowledge is what we leave behind. The essay concludes that archaeology is best understood not as the study of the temporality of the landscape, as Ingold had argued, but as the study of the temporality of the landscape revisited.

The first part of the paper develops the argument that geographers should learn to decompose human memory into its constituent parts because then and then alone will we become attuned to the full range of ways in which we incorporate places into our beings. The second part of the paper articulates Stephen Hill's comments on episodic memory with my recent work on wisdom.

This paper crosses the borders of human geography to bring back two related bodies of work from experimental psychology that investigate, in an unusual and refreshingly precise way, long-standing human geographical concerns with tem-porality, place and subject formations, meaning-making and well-being. It is argued that the traffic of ideas and empirical findings between human geography and experimental psychology can be mutually profitable if, and only to the extent that, it encompasses a sustained epistemological, methodological and political critique of the disciplinary practices that have yielded those ideas and findings.

This essay explores Tim Ingold’s anthropological theory following his references to  Merleau-Ponty and the concept of interanimality/interagentivity. It poses some ideas of Ingold’s “poetics of dwelling”, which he highlights from ethnographies of hunter-gatherer peoples, and how these ideas are linked to an ontological consideration which does not dissociate body and person, body and mind, nature and culture, animality and humanity.
The paper reviews animal literature in Merleau-Ponty’s philosophy, and Ingold’s critique of “Anthropology of the senses”. It also gives critical clues for the ethical and political implications of this ontology.

This paper argues that, in order to take place, space and scale more seriously in the study of our discipline, we have to complement the pervasive understanding of geography as a tradition of thought or an extended conversation with an understanding of our discipline as a tradition of practice, in which the main focus is on the becoming of geographers. It is argued that the theme of 'what it takes to be a good geographer' is a fertile way to study this process of becoming. The four main advantages of this approach are illustrated empirically in the body of the argument by the author's reflections on his socializing within two very different geographical traditions.

The Siberian Northeast shows striking parallels between the cosmologies of hunters and reindeer
herders. What may this tell us about the transformation from hunting to pastoralism? This article
argues for a structural identity between hunting and sacrifice, and for the domestication of the
reindeer as the result of hunters’ efforts to use sacrifice to control the accidental variables of the
hunt. Hunters can practise their ethos of ‘trust’ with prey only through highly controlled ritual
enactments. We describe two: the famous bear festival of the Amur Gulf region and the consecrated
reindeer of the Eveny. Both express the same overall logic by which sacrifice functions as an ideal
hunt. The animal is involved in a relation not of domination but of trust, while also undergoing a
process of taming. We therefore suggest that the reindeer’s domestication may be based not only
on ecological or economic adaptations, but also on cosmology.

This paper was presented as a keynote lecture at the international conference Designing and Planning the Built Environment for Human Well-Being, held at the University of Oulu in Finland, 23-25 October 2014. It is an expanded version of a paper first given at the Royal Danish Academy of Fine Arts in Copenhagen in November 2012, and published as a chapter in the book Towards an Ecology of Tectonics: Rethinking Construction in Architecture, edited by Anne Beim and Ulrik Stylsvig Madsen (Stuttgart: Edition Axel Menges, 2014).

The paper also builds on the arguments first presented in the book chapter Architecture, Technology and the Body: From the Prehuman to the Posthuman (2012), which set out a new theoretical framework for understanding the relationship between architecture and embodiment by questioning the now commonplace view of the body’s prosthetic relationship with technology. Drawing on the work of contemporary thinkers such as Bernard Stiegler, Raymond Tallis, and Tim Ingold, it argues that rather than treating new technological extensions of the body as in some way threatening to our sense of self, we should instead see them in a more positive way as part of a longer developmental trajectory in which ‘the human’ and ‘the technological’ are in fact mutually co-constitutive. By considering these issues within the framework of recent advances in evolutionary, cognitive and neuroscientific theory, the paper tries  to draw out some of the more significant implications of both human and technological embodiment for designing, making and thinking about architecture today.

In Breaking the Surface, Doug Bailey offers a radical alternative for understanding Neolithic houses, providing much-needed insight not just into prehistoric practice, but into another way of doing archaeology. Using his years of fieldwork experience excavating the early Neolithic pit-houses of southeastern Europe, Bailey exposes and elucidates a previously under-theorized aspect of prehistoric pit construction: the actions and consequences of digging defined as breaking the surface of the ground. Breaking the Surface works through the consequences of this redefinition in order to redirect scholarship on the excavation and interpretation of pit-houses in Neolithic Europe, offering detailed critiques of current interpretations of these earliest European architectural constructions.

The work of the book is performed by juxtaposing richly detailed discussions of archaeological sites (Etton and The Wilsford Shaft in the UK, and Magura in Romania), with the work of three artists-who-cut (Ron Athey, Gordon Matta-Clark, Lucio Fontana), with deep and detailed examinations of the philosophy of holes, the perceptual psychology of shapes, and the linguistic anthropology of cutting and breaking words, as well as with cultural diversity in framing spatial reference and through an examination of pre-modern ungrounded ways of living. Breaking the Surface is as much a creative act on its own-in its mixture of work from disparate periods and regions, its use of radical text interruption, and its juxtaposition of text and imagery-as it is an interpretive statement about prehistoric architecture. Unflinching and exhilarating, it is a major development in the growing subdiscipline of art/archaeology.

To buy this book, please go to the OUP site (https://global.oup.com/academic/product/breaking-the-surface-9780190611873?cc=us&lang=en&#) or Amazon (https://www.amazon.com/Breaking-Surface-Archaeology-Prehistoric-Architecture-ebook/dp/B07CZKYR6T/ref=sr_1_1?ie=UTF8&qid=1529527889&sr=8-1&keywords=breaking+the+surface+bailey)

For readers who would like to receive the modified artist's version (as the volume was originally intended), please send their purchased book to Professor Bailey and he will intervene in your copy and return it to you. Send books to Professor Doug Bailey, Department of Anthropology, San Francisco State University, 1600 Holloway Road, San Francisco, California 9413, United States.

In this essay, I question current models of central European Neolithic societies that are informed by concepts of sedentarism and cultural homogeneity. Based on pottery styles, they miss out two fundamental conditions of human life: the constant oscillation between movement and stasis and the ongoing engagement with materials. Drawing on T. Ingold's thoughts on the 'making' of things and P. Bourdieu's habitus-theory, I argue that everyday human action like the making of a pot (1), unfolds in spatially and temporally bounded movements and mobilities and (2), emerges from an engagement of humans with their material and social landscapes. Hence, the features of pottery vessels comprise histories of their becoming that intertwine the itineraries of geological materials and their human makers. Some vessels are made and used at the same place ('local vessels'), others are transported over various distances ('translocal vessels'). When humans and things are on the move, encounters with otherness can trigger creative processes , which might also become materialised in pottery ('inbetween vessels'): the appropriation of new materials, different techniques, styles etc. To follow the itineraries of things thus offers an entry point to a deeper understanding of past peoples' mobilities and the negotiation and transformation of temporarily stable cultural forms. I will develop my approach on the pottery of the Neolithic settlement of Hornstaad-Hörnle IA at Lake Constance (DE) (3918-3902 BC).

This chapter introduces Boundary Line Type (BLT) mapping, a vector GIS based cross-culturally and diachronically comparative method, used for mapping the socio-spatial significance of urban built environments. This new research method is related to other methods currently used to study contemporary as well as historical urban built environments such as urban morphology, space syntax, and GIS based approaches. BLT mapping uses GIS technology in order to apply an ontology of formal boundary conceptualisations expressing the constitutive differences among the materially constructed subdivisions which shape built environments and are inhabited by urban society. This ontology resulted from a firm socio-spatial theoretical grounding (Vis in Sp Flows: Int J Urb ExtraUrb Stud 2(4): 15–29, 2013a; Vis 2013b; Vis in J Borderland Stud, forthcoming) and is here operationalised on the basis of contemporary, historical, historically reconstructed, and archaeological ground-level city plans of the historic city of Winchester (UK) and Chunchucmil (Classic Maya, Mexico). The research processes of data preparation and the analytical mapping of BLTs by identifying them in empirical data contexts are presented. This alerts the prospective user to the challenges and practical measures involved in using spatial datasets of different origin. The interpretive opportunities of the resultant formal redescription of the urban landscape and the potential of the BLT data structure for both advanced spatial analysis and visualisation is explained. Facilitating this interpretive and analytical mapping practice is expected to stimulate future research to systematically explore societyspace relations as manifest and developing in cities over time and in socioculturally contrasting urban traditions. Devising and conducting this methodology advances the qualitative GIS research agenda for the spatial humanities and social sciences by marrying theoretically informed ideational concepts to quantifiable empirical units of information.

In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the atmosphere. The first part of this paper points to the limits of an understanding of atmosphere as a constellation of things, as proposed by Gernot Böhme. In contrast to this, Hermann Schmitz conceptualises atmosphere as half-thing which suggests movement. By expanding on this point, I argue that it is not solely an effect of music to trigger movement but that music itself is movement. Hence I propose to methodologically approach atmospheres as movements. Consequently, in the second part of this paper I closely analyse two motions as they cohere in Closed Brethren worship services: first, becoming (Deleuze and Guattari), a movement on the level of the individual worshiper; secondly, territorialisation (Deleuze and Guattari), a movement of the atmosphere towards its solidification. Here music as atmosphere is not a system of moral signification but a generative power affording intimate processes of divine encounter, whilst producing affective denominational difference.

In 1766, Thomas Cochran entered the Edinburgh classroom of Joseph Black (1728-1799) to learn chemistry for the first time.  Cochran was studying medicine and, like so many of Black’s students, he dutifully recorded several diagrams in his notebooks.  These visualisations were not complex.  They were, in fact, simple.  One of them was a single ‘X’, a chiasm, and Black used it to illustrate ratios of chemical attraction [Figure 1].  This diagram is often held to be the first chemical formula and, as such, historians have endeavoured to explain why it was unique and how Black invented it. 

In this essay, I wish to turn the forgoing premise on its head by arguing that Black’s chiasm was neither visually unique nor invented by him.  I do this by approaching the diagrams via a visual anthropology that allows me to examine how students learned to attach meaning to patterns that were already familiar to them.  In the end, we will see that Black’s diagrams were successful because their visual simplicity and familiarity made them ideally suited to carry the chemical theories that he so skilfully attached to them.

Thinking posthumanly – from a post-Enlightenment, critical, new materialist perspective – things, including concepts, become more permeable and topological – they leak and stretch. Freed from limiting notions of agency, things behave. Rivers have established the same legal rights as humans in New Zealand  and India,  stones have been reported slithering across the desert floor in California,  an electrical power grid in the USA has revealed a unique agential dexterity  and walls have been spotted walking over mountains in the UK’s Lake District.  Thinking with a posthuman partiality, we begin to witness a democracy of objects rather than an anthropocentric dictatorship over inorganic materials. If agency is reworked into an ‘enactment’ as opposed to something that is ‘held’,  conceivably humans and other biological organisms are not necessary for agency (or life) to emerge as inorganic material agency erupts from unchoreographed assemblages of spacetimematter(ing). And if cognitive and dermatological boundaries are no longer organ-ised by an Enlightenment prescription, how might pedagogies perform differently and more equitably?
This article draws on the empirical materials from two psychogeographic walks that agitate lithic spaces with a posthuman affection. Part One examples a radical mobile classroom that I undertake regularly with university students where the use of it-narratives exposes the distributed agency of buildings. I explore what a posthuman gaze might do to/for performative pedagogies as my students attempt to interview a building. Part Two offers an example from my previous post-qualitative PhD inquiry which – by manipulating the practices of psychogeography and schizocartography – highlights how a shopping centre assemblage called Liverpool ONE diagnosed itself with Obsessive Compulsive Disorder (OCD), thus reinforcing the notion of inorganic agential distribution. The pedagogic implications of this posthuman diagnosis are discussed.

The author shows how houses in the northern Baltic were constructed using two realities: the reality of timber and the equally potent reality of spirits supporting and controlling the fate of structures. Excavations in seventeenthcentury Tornio (now in modem-day Finland) showed that houses were furnished with special offerings when founded and refurbished, while evidence from living folklore suggested that the houses themselves were originally given spiritual personalities and were treated as members of the family. As more modern thinking took hold, this spirituality was transferred to the more mobile and skittish household sprites.

Um evento como acontecimento. Um livro como ruína de um evento que
aspira a reativar e renovar o acontecimento por outros meios. Um livro como campo aberto de experimentação, não do que foi, mas do que os corpos podem ao se compor com as palavras-imagens que ele carrega junto. Um livro que a cada página afirma a multiplicidade e, em consequência, chama para que entremos nele das mais diversas maneiras. Estas podem ser infinitas, como almejamos que sejam os desdobramentos e compostagens deste livro. No entanto, aqui me limito a três breves entradas... (S. Wiedemann)

Sétima edição do Seminário Conexões:
Deleuze e Cosmopolíticas e Ecologias Radicais e
Nova Terra e…

Um seminário que chega à sua sétima edição, sempre com um
título seguindo de “e” três pontos: nova terra e… máquinas devires e… territórios e fugas e…
Desta vez o Antropoceno, tempo “marcado pelas catástrofes, pelas mudanças climáticas e nossa ação irreversível sobre as condições materiais de existência, sobre Gaia; parece que nos joga em direção ao fim do mundo”. Mas a leitura do livro fará o leitor tomar outro rumo. Luiz Orlandi, Whitehead, Brian Massumi, Charles Sanders Peirce, Aylton Krenak, uma lista de nomes entre autores e citados... e autores citados... e citados autores... A questão via Deleuze e a filosofia da diferença é que a flecha inexorável e irreversível do tempo não vai no sentido que se acreditava, nem é uma só. A flecha vem do futuro, não vai ao futuro, ela também vem do passado, mas de um passado que é presente, lugar em que uma verdadeira pororoca temporal atravessa os que nela conseguem sobreviver. Vivemos hoje e sempre vivemos no entre, acontecemos no meio, como lembra Whitehead; a todo tempo são novos tipos de encontros, como diz Luiz Orlandi. O sujeito nasce do evento, e que evento é este? O encontro, o "entre" forças irreversíveis de futuro, forças irreversíveis de virtuais, forças de encontros entre Caos, Gaia, Chronos e Aion.
Se o senso comum propaga a ideia de um mundo que é levado ao fim, o “fim do mundo”, “o fim do tempo de chronos”, o que este livro aponta é outra coisa, uma leitura necessária: não se trata de um fim do mundo, mas de um mundo inacabado. Só tem fim o que está acabado e é isto que nos relembra a todo tempo a filosofia do eterno retorno das condições do diferente. Daí o “e” três pontos, “e...”. Referência direta a um dos últimos textos de Deleuze, “Imanência: uma vida...”, Imanência-doispontos-uma-vida-três pontos, como já nos lembrava Agamben, ideia que agora reverbera neste livro, neste resultado impecável da organização de Antonio Carlos Amorim, Susana Oliveira Dias e Sebastian Wiedemann. A universidade se mantendo aberta, uma frase que resume todo o livro e que vem em meio ao texto daquele que abriu às leituras brasileiras o denso Diferença e Repetição de Gilles Deleuze, Luiz Orlandi.
Silvio Ferraz (USP)

Introduction.

Dwelling approaches life as a process of being-in-theworld which is open to the world. Human and nonhuman life is read as an immediate, yet also enduring, relational process of bodies-in-environment (space and place) which are (with variation) mobile, sensing, engaging, responding, exchanging, making, using, remembering, and knowing. This process-based, vitalist view of life is closely linked to phenomenology, and stands in opposition to dualized, rational Cartesian-based approaches.

As Tim Ingold suggests when setting out Heidegger’s foundational work on this concept, dwelling encompasses the whole manner in which one lives one’s life on the Earth; thus ‘‘I dwell, you dwell’’ is identical to ‘‘I am, you are.’’ For Heidegger, to be a human means to be on the Earth as a mortal. It means to dwell. This offers analternative to Descartes’ cogito – ‘I think, therefore I am’ – the foundation of rationalism which helped set up/ reinforce a series of persistent, related dualisms including those of mind–body, subject–object, society–nature, and human–nonhuman. These, some argue, are impediments
to understanding the relational nature of life, not least in terms of important questions of humans in nature/environment/place, and environmental sustainability.

In The Perception of the Environment (2000), Ingold has argued that differences in cultural knowledge are more a matter of  variation in embodied skills than in discursive knowledge. These skills develop through the practitioners’ engagement with their
environment and in situated social relationships. In order to ‘discover’ for themselves what is taken for granted for experienced practitioners, they have to ‘fine-tune’ their
perception through observation and imitation. But how do observations and imitations of others’ movements actually transfer into shifts in one’s own perception? In her book Loving Nature: Towards an Ecology of Emotion (2002), Milton argued that emotion acts as a learning mechanism to filter attention. I propose that when one observes and imitates in a process of learning, one enters into an empathic relationship with a skilled practitioner. Through synchronization of intentions and movements, emotions spread over and change the practitioners’ perception accordingly.

This article blends insights from gender, technology, and development studies with Ingold's concept of taskscape to examine the interrelated nature of farming, food, and craft manufacture practices in Banda, Ghana during the last three centuries. We begin by comparing two ethnoarchaeological studies that were conducted separately by the authors, one that focused on food, and the other on ceramic production, preparation, and consumption. We use these data to analyze gendered taskscapes and how they have changed in recent decades with the introduction of new technologies and major economic and environmental shifts. Building on such insights, we analyze how taskscapes shifted in earlier centuries in Banda through archaeological remains of food and craft practice at the eighteenth-to twentieth-century site of Makala Kataa. Craft production cannot be fully understood without reference to food production, preparation, and consumption; thus, viewing these practices as interrelated tasks in a gendered taskscape yields insight into the rhythms of everyday life and highlights women's often undervalued skills.

Na antropologia e em outras disciplinas, "etnografia" tornou-se um termo tão sobreutilizado a ponto de ter perdido boa parte do seu sentido. Argumenta-se que atribuir "etnograficidade" aos encontros com aqueles entre os quais se realiza a pesquisa – e ao trabalho de campo de modo geral – é colocar em risco o compromisso ontológico e o propósito educacional da antropologia enquanto disciplina, bem como da sua principal maneira de trabalhar, a observação participante. Também significa reproduzir uma distinção perniciosa entre aqueles com os quais se estuda e se aprende dentro e fora da academia, respectivamente. É essa obsessão da antropologia com a etnografia que tem, mais que qualquer outra coisa, solapado a sua voz pública. Para recuperá-la, deve-se reafirmar o seu valor enquanto disciplina orientada para o futuro, dedicada a recompor a ruptura entre imaginação e vida real.

This study concerns field recordings, location audio gathered from unscored and unexpected sounds, which retain an indexical relationship to their origin in the natural world. The term “environmental music” describes aesthetic works that use field recordings as primary material. This practice requires an engagement with the ontology and phenomenology of place, but such relationships have remained under-theorised. This study addresses this lacuna by developing a rich vocabulary of place that can aid both the practice and analysis of environmental music. The historical development begins with the multiplicity of concepts of place known to the Ancient Greeks. One of these, Ptolemy’s geos, based on a God’s-eye view of the world, has dominated understandings of the world and its effects, hence the term “geography”. This perspectivism was reinforced first by Alberti’s optics, which placed a viewer in a strict topological relationship to the object of their gaze, and then by Cartesian rationalism, a philosophy that reduced place to mere secondary characteristics of an ordered, homogeneous space. Against this background, alternative models of place will be discussed. Topos, exemplified by tales like “The Odyssey”, emphasises the perambulations of an individuated subject, foregrounding the experiential nature of the journey. The klimata of Ptolemy models place as psychic zones of influence on the Earth. Plato’s khoros is both receptacle and material, a generative site of instability and unknowability. Taken together, these concepts assert the primacy of place as milieu, a responsive context that shapes, and is shaped by, being-in-the-world. The word “platial” is proposed to encompass this understanding. This thesis is supported by the phenomenology of Martin Heidegger and Maurice Merleau-Ponty, as interpreted by Tim Ingold and Edward Casey. Analysis of the environmental music of Dallas Simpson, Robert Curgenven, and the author illustrate how platial thinking can provide deep insights into a variety of creative sonic practices.

Opening night at the theater and the stage is awash with color and spectacle, an awe-inspiring display of set and costume extravagance. Fast-forward eighteen months: this wondrous design has transformed itself into a mountainous ruin, oozing from a gluttonous skip deep in the bowels of the building. These contemporary " theater ruins' " begin relatively harmlessly, hidden behind dusty staircases and at the back of storage units, crowding corridors and littering dressing rooms. But sooner or later, what doesn't make it into the recycle bin is cast off to the land of " away, " where skips overflow into leaching landfills, and, inextricably, into our fragile ecosystems. It is here that we encounter the unsettling reality that our arts practices have consequences.

This article examines the work of a group of scientists who contributed to influential climate policy approaches while taking part in groundbreaking research on climate transformations. The scientists promoted a policy approach known as REDD+, which was designed to slow climate change by paying forest landholders to not cut their forests. These scientists also made important contributions to the science of the Anthropocene, which is premised on the idea that humanity has become a geological force that is transforming the planet in dis-ruptive ways. I argue that their science and policy efforts are at odds with anthropological critiques that view environmentalists as experts who see themselves as bearing exceptional " cultural " capacities and therefore as capable of protecting or improving " Nature. " In a region of Amazonia, the science of the Anthropocene and the associated REDD+ projects moved beyond ontological understandings that divide the world into the opposing spheres of Nature and Culture. The scientists did not see themselves as inhabiting a " cultural " sphere from which they could protect Amazonia as a " natural " object, but rather they used REDD+ projects to immerse themselves in what they felt were irreversible, uncontrollable, and disruptive socioenvironmental transformations. [Anthropocene, Brazilian Amazonia, climate politics, political ontology, REDD+] " I believe we will be able to address and even try mitigating climate change... but this will only take place after a good deal of suffering. " My interviewee, an environmental scientist I will call Derek, talked about dismal futures as we discussed policy-oriented environmental research projects in which he was involved. This was the first of ninety-six conversations that, since 2010, I have carried out with environmental scientists—from graduate students to Nobel Prize winners—who work at the thresholds of science and policymaking in Amazonia. Some of my interlocutors designed ambitious research projects so others could use their results in the design and implementation of novel climate policies. Others took on the role of policymakers themselves and drafted and advocated for climate policy proposals that were highly influential in environmental forums in Brazil and the United Nations. In this article, I examine the policy-oriented work of scientists who believed that " a good deal of suffering " would be unavoidable and that projects designed to arrest potentially catastrophic socioenvironmental transformations would be ineffectual. I argue that my interlocutors' characteristically bleak approach to climate politics challenges conventional anthropological critiques of dominant environmental approaches. The policy approach Derek and his colleagues promoted was known as REDD+ (an acronym for Reducing Emissions from Deforestation and Forest Degradation—the plus sign signifies improved carbon stocks). The REDD+ idea was the following: imagine a company that wants to claim it is " going green " but whose revenue is tied to activities that generate greenhouse gas emissions. REDD+ programs would offer this company

It is readily acknowledged that built environment configurations are shaped by the outer lines of the features it consists of. Yet, these boundary lines are not typically utilised in our theorisation of the built environment to further our social understanding of it. Studies of the built environment often originate in the study of cities: their most elaborate form. Rather than starting from conflated characterisations derived from urbanism, this paper presents a theory for studying built environment configurations by asking how they occur and how society is accommodated by them. This leads to two series of concepts (human being in the spatial world, and human being in the social world) which establish that boundary concepts are essential to the social study of built environment configurations, whilst they also retain the generality needed to enable comparative research.

This book defines theatricality and performativity through metaphors of texture and weaving, drawn mainly from anthropologist Tim Ingold and philosopher Stephen C. Pepper. Tracing the two concepts' various relations to practices of seeing and doing, but also to conflicting values of novelty and normativity, the study proceeds in a series of intertwining threads, from the theatrical to the performative: Antitheatrical (Plato, the Baroque, Michael Fried); Pro-theatrical (directors Wagner, Fuchs, Meyerhold, Brecht, and Brook); Dramatic (weaving memory in Shaffer's Amadeus and Beckett's Footfalls); Efficient (from modernist 'machines for living in' to the 'smart home'); Activist (knit graffiti, clown patrols, and the Anthropo(s)cene). An approach is developed in which 'performativity' names the way we tacitly weave worlds and identities, variously concealed or clarified by the step-aside tactics of 'theatricality'.

This PhD dissertation concerns the challenges of cataloguing volatile art-works and vast collections. In 2011, KUNSTEN Museum of Modern Art in Denmark acquired Danish artist Mogens Otto Nielsen’s (b. 1945) mail art archive with material from approximately 600 artists from the international mail art network. The research question of the dissertation is fairly simple: How can an art museum catalogue mail art archives? The answer, however, entails an extended analysis of the archive material as well digital and curatorial method development. The analysis combines museology, art theories, phenomenology, anthropology, and new media theory with experimental and exploratory work with museums, scholars, programmers, and interactive designers.
In the first half of the dissertation, I analyse the archive material’s relation to the mail art network. In the second half, I analyse the material’s relation to the museum institution and its organizing principles. In-between chapters, readers follow in the footprint of the researcher and the hands-on work in the archive. The last two chapters suggest two possible strategies towards cataloguing mail art archives. First, the museum should catalogue the material of mail art archives by mapping relations and associations. Second, the cataloguing system should make it possible to re-enact and re-imagine the associative network of the archive. These reactivations, I suggest, should be carried out by digital mapping as well as curatorial re-enactments and re-arrangements of the archive.

Characterizing mail art and its network
Chapters 1-5 concern the archive’s relation to the mail art network from the 1960’s and onward. All kinds of mediums and materials such as collages, drawings, visual poetry, photos, sound recordings, and small objects were circulating between artists via the common postal system. The mail art pieces tap into several previous and concurrent art practices such as Dada, Fluxus, and Performance Art, technological changes, political, social, and cultural strategies, spirituality, and a newfound interest in networks as a means of exchange and artistic creation.
Chapters 6 and 7 concern the principles behind the exchanges in the network. Research into Nielsen’s archive shows that the principles of gift-exchange economy entailed social obligations and unwritten rules that would work against the recurring rubberstamped anti-rules of “no rules, no jury, no return.” Yet, excess and the adaptive nature of mail art suggest that the exchanges were based on sharing. In chapter 7, the mail art network is characterized as acts of impure sharing that mixes gift exchange logics with principles of sharing. The network was far from power-free or non-hierarchical, but these structures were – via address lists – continuously circumvented. The numerous address lists in Nielsen’s archive are traces of a “database logic,” described by Russian media theorist Lev Manovich, that shares principles with today’s digital peer-to-peer network in terms of modularity, variability, and transcoding.
Chapters 8-11 study the mail art archive’s relation to the museum institution. In chapter 8, Nielsen’s Pocket Museum is described as a reconfiguration of pre-modern cabinets or curiosity as well as modern museums. The desire to categorize and chart every corner of the world is described by academic texts, protocols, as well as literature. The analysis is supplemented with studies of the principles and procedures of the universal archive by German-Russian philosopher Boris Groys as well as French philosophers Michel Foucault and Jacques Derrida.
Chapter 9 retraces mail art pieces in Nielsen’s archive to the Stasi archive. Research in these archives shows the archival logics in operation. In its most absurd form, the neat and detailed forms and reports reveal a clear difference between the archive and the mail art network. However, the fondness for bureaucracy within the network disturbs this image of order on one side and anti-order on the other.
  Chapters 10 and 11 describe Nielsen’s archive as an “anarchive.” German historian Wolfgang Ernst’ definition of anarchives points to those counter-archives that mean to circumvent the orders of the archive. However, as Ernst points out, these creative archives are still tied to the logic of the archive. American performance scholar Diana Taylor’s notion of repertoires and French historian Pierre Nora’s distinction between history and memory sites extend the analysis in order to point the anecdotic, myopic, multiple, volatile and material character of mail art pieces. They have to be enacted and re-enacted for it to be passed-on within a culture or community.
Chapter 12 shifts perspective and considers the mail art archive as an actor-network along the line of French sociologist Bruno Latour. However, this image of networks is counterbalanced by Scottish anthropologist Tim Ingold’s notion of the meshwork. In Ingold’s phenomenological counter-image, mail art pieces are not merely created and reworked in nodes, but in constant transformation.
Chapters 13 and 14 propose two solutions to the challenge of cataloguing mail art archives. The museum’s categories and methods of archiving are hinged on the preservation of fixed and autonomous material, not networks, meshworks, or movements. Yet, the duality of mail art pieces as materials and motion, i.e. materials in motion, reveals the restrictions of the museum institution’s methods for cataloguing. Drawing on American performance scholar Rebecca Schneider, I characterize mail art pieces in Nielsen’s archive as “poses.” Archivists can preserve a piece of the entire “dance” or “correspondance,” but would need to re-enact the piece by different means. In the case of mail art archives, the cataloguing must attend to the movement of material by reactivating and re-arranging material.
The methods for preserving and exhibiting via re-imagination are illustrated and concretized with the exhibition design for Nielsen’s archive. The swarm quality, modularity and viability, and the concept of re-enactments were integrated into a wall installation with modular cases. The digital database and its prototypes, however, would enable users to see a corner of the mail art network structure.

Digital re-enactments
The dissertation presents two digital prototypes from the research project. They are the preliminary results of the method development of digital databases and digital maps.
Prototype one was partly based on the idea of the rhizome and the meshwork. The patterns and curved lines between nodes were created at random within a specific range of numerical values. The recreation of the archive as a digital meshwork was never sufficiently realized. However, the experiment resulted in a functional prototype of visual database. 
Prototype two represents Nielsen’s archive without lines of connections. In the “Mapping the Archive” project, I collaborated with a small group of digital designers, dramaturges, and professionals from museums of art, cultural heritage, and natural history. The material was re-imagined as clusters of small “microbes” where size and proximity represent relations. In addition, the project experimented with categorizations of colour and emotions. The pieces are attracted to a specific category, sometimes suspended between two or more, thereby re-imagining the vibrating nature of Nielsen’s archive.
In shorter intermediating texts between chapters, I describe and reflect upon the practical work in the archives, its movements, and uncertainties. The texts account for a small part of the “Erleben” and “aesthetics of presence,” as described by German-American literary scholar Hans Ulrich Gumbrecht, one might experience when cataloguing and consulting these vast collections of volatile art. This wonder is a driving force for the analyses of mail art pieces in-between creative exchange and archival order.

Resumo
A partir de uma revisão bibliográfica do antropólogo britânico Tim Ingold, procuraremos nos debruçar no debate que emerge na antropologia a respeito da dualidade entre natureza e cultura. O percurso que faremos procurará inicialmente delimitar os termos do debate no qual as contribuições do autor poderão ser apresentadas. Assim, o debate acerca de como a antropologia vem lidando com a chave natureza/cultura dará os contornos iniciais pelos quais transitará nossa revisão. Isto será feito a partir de dois eixos: no que concerne a relação entre evolução e História e noções de humanidade e animalidade.

Abstract
Starting from a bibliographic review of the british anthropologist Tim Ingold, we will observe the debate that emerges in the anthropology about the duality between nature and culture. The route that we will do will search, at first, to delimitate the terms of the debate, in what the author contributions could be presented. Thereby, the debate about how the anthropology deals with the key nature/culture will give the initials boundaries in witch our review will progress. This will starts from two areas: the connection between evolution and History and humanity and animality notions.

"What is holding back service design from making a distinct departure from a product-centred to a socio-material human-centred framework? We have a concern for co-designing that is often discussed as a generic method to develop empathetic connections and understandings of people and their contexts. In this use, mastering the craft of co-designing had inadvertently isolated the method from the practitioner, fragmenting its process as a series of static events or a tool for deployment in staged workshops. Contributing to current debates on co-designing and design anthropology, our paper seeks to re-entangle co-designing back into its lived and enacted contexts. We see co-designing as a reflexive, embodied process of discovery and actualisation, and it is an integral, on-going activity of designing services. Co-designing can catalyse a transformative process in revealing and unlocking tacit knowledge, moving people along on a journey to ‘make real’ what proposed services might be like in the future. Co-designing plays a critical role especially when it involves the very people who are enmeshed in the realisation of the proposed services itself. As such, our case study of a weekend Ordnance Survey Geovation camp pays closer attention to how this took place and discusses the transformative process that was central to it. By taking a phenomenological perspective and building on a seminal anthropologists’ work, Tim Ingold, our paper counters the limitations in service design that tends to see its process as a contained series of fixed interactions or systemized process of methods. Through Ingold, we see ‘the social world as a tangle of threads or life-paths, ever ravelling here and unravelling there, within which the task for any being is to improvise a way through, and to keep on-going. Lives are bound up in the tangle.’ Similarly, we view co-designing as being and becoming, that is constantly transforming and connecting multiple entanglements."

second draft. forthcoming chapter in 'Click & Kin: Transnational Identity and Quick Media', eds May Friedman & Silvia Schultermandl.

This chapter discusses recent shifts toward 'avatar' online identities from the lens of post-humanist media theory, speculative materialism, cybernetics, and perspectivist multi-naturalism. At its least ambitious, it interrogates qualitative losses in possibilities of personhood, movement and knowledge brought about by quantitative increases in travel, communication, and information technology, and discusses problems associated with the projection of disembodied persons in a simple representational system I term the avatarsphere. Situating this problem within the broader 'ecological error' (Bateson) of node-driven, navigational cartography, I present oppositional stories of non-representational wayfaring (Ingold) in the complex river systems of the Amazon. But my investigation of human-object relations asks broader ontological questions. In theorizing technologically mediated human relationships, I avoid the mistake of presenting a unidimensional world with one kind of human, one kind of technology, and one class of pre-existing non-human objects – a thing sometimes called 'nature' that is either revealed or veiled to human perception. Airplanes, the Internet and credit cards are simply objects created by humans; dominant as they have become in the way humans relate to the world and each other, they reflect as much as they shape a set of specific worldviews articulated by specific humans. Here, I am interested in the possibilities that are offered but also those that are not offered by specific human worldviews. As such, I am preoccupied with the open-ended possibilities about what is real and how to live in the world that are no longer permitted once most of humanity is recruited into a particular ontological regime; in this case that of the avatarshpere. The question posed here is not what kind of 'nature' is the avatarshpere, but what are all the other kinds of natures we do not live in as a result?"

Este trabalho apresenta uma etnografia da relação entre os Potiguara e a paisagem. Buscamos compreender as formas como concebem, percebem e vivenciam o ambiente no cotidiano e as tensões envolvidas diante de projetos de paisagem de outros atores. A antropologia pode identificarse com dois usos ou interpretações do termo paisagem; como percepção visual do território representado de maneira estética e naturalista, o que só pode ser visto no pensamento ocidental e; a paisagem como um conjunto de relações entre pessoas e o ambiente que proporcionam o contexto para a vida cotidiana. Poderíamos acrescentar, numa perspectiva mais atual, a paisagem pensada e vivida como o horizonte de acoplamento histórico dos organismos no ambiente, apontando para a corporeidade da paisagem. Todavia o conceito de paisagem deve passar por um crivo etnográfico, com o fim de que deixe claro o tipo de teoria/cosmologia que o informa. Os Potiguara concebem a paisagem enquanto um entrelaçamento cultura/natureza através das malhas relacionais. A paisagem seria, portanto, o resultante do engajamento no ambiente, considerando suas dinâmicas históricas, socioculturais e políticas que lhes dão corpo. Porém, estes processos de habitar e construir paisagens devem ser observados em tensão/intersecção com outros projetos de paisagem, principalmente na relação com atores do desenvolvimento e do ambientalismo, trazendo nosso olhar para a ecologia política entre diferentes "modelos culturais de natureza".