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   <title>Material World</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/" />
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   <id>tag:blogs.nyu.edu,2008:/projects/materialworld/137</id>
   <updated>2008-07-24T01:39:06Z</updated>
   
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<entry>
   <title>Material Histories</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/07/material_histories.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7430</id>
   
   <published>2008-07-23T18:14:46Z</published>
   <updated>2008-07-24T01:39:06Z</updated>
   
   <summary>The &apos;Material Histories: Scots and Aboriginal Peoples in the Canadian Fur Trade&apos; website, funded by the UK Arts and Humanities Research Council, is now available at: www.abdn.ac.uk/materialhistories Alison Brown comments the website presents case studies of how beadwork and other...</summary>
   <author>
      <name>Haidy L Geismar</name>
      
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      <![CDATA[<p>The 'Material Histories: Scots and Aboriginal Peoples in the Canadian Fur Trade' website, funded by the UK Arts and Humanities Research Council, is now available at: <a href="http://www.abdn.ac.uk/materialhistories">www.abdn.ac.uk/materialhistories</a></p>

<p>Alison Brown comments the website presents case studies of how beadwork and other materials used during the North Atlantic fur trade can be used to reflect upon family histories and the lives and experiences of those people connected to this global system of cultural and material exchanges. It is part of a larger project developed by Alison Brown, Tim Ingold and Nancy Wachowich in the Department of Anthropology at the University of Aberdeen, Scotland, which looks at how fur trade material culture can be used to explore the social relationships between Scots and Aboriginal peoples.</p>

<p>Two papers and a book related to the project are forthcoming, however, visitors to the website can download the Material Histories Workshop Proceedings, which contains papers concerning the contemporary meanings of fur trade artefacts in museums and family homes.</p>

<p>Josh Bell, Sainsbury Research Unit, University of East Anglia</p>]]>
      
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<entry>
   <title>Lace and licentiousness</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/07/lace_and_licentiousness.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7401</id>
   
   <published>2008-07-18T15:23:06Z</published>
   <updated>2008-07-21T05:39:01Z</updated>
   
   <summary>Nicolette Makovicky, Wolfson College, University of Oxford Is a hand-made, lace g-string an appropriate symbol of local cultural heritage? This has been one of the questions villagers in Koniakow, southwestern Poland, have been asking themselves since some local lace makers...</summary>
   <author>
      <name>Haidy L Geismar</name>
      
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         <category term="Notes from the Field" scheme="http://www.sixapart.com/ns/types#category" />
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      <![CDATA[<p>Nicolette Makovicky, Wolfson College, University of Oxford</p>

<p><img alt="image010.jpg" src="http://blogs.nyu.edu/projects/materialworld/image010.jpg" width="500" height="375" /></p>

<p>Is a hand-made, lace g-string an appropriate symbol of local cultural heritage? This has been one of the questions villagers in Koniakow, southwestern Poland, have been asking themselves since some local lace makers began to turn out crocheted lingerie in the face of falling demand for their traditional products. The production of tablecloths and ecclesiastical items in crochet lace has been a cottage industry in Koniakow since 1864, when the wife of a local schoolteacher taught the younger girls in the village the technique. The craft was passed on from one generation of women to the next, eventually developing into a distinct local style with its own vocabulary of floral motifs. Acknowledged as a craft unique to the village, it became recognized as a form of ‘folk art’ in the 20th century. Koniakow lace found its way to national and international exhibitions, as well as into the households of several European royal families and the Vatican with the appointment of John Paul II. Since 2003, bra and panty sets are churned out by members of the collective KONI-Art, along with the by now infamous ‘stringi’ – Polish for thongs. Their products are sold locally, through the village website (www.koniakow.com) and through websites located in the United States, the United Kingdom and Germany. </p>

<p>The commercial success of this crocheted lingerie demonstrates the ability of the small-scale manufacture of specialized goods to flourish alongside the global flow of mass-produced commodities. Yet, the innovative application of traditional motifs and techniques for the creation of this new line of products has not been without its challenges. The ‘stringi’ and their producers have been met with some resistance from within the community itself, as well as from the Catholic Church. Religious authorities have labeled the new line of products ‘indecent’ and the media reported that some craftswomen were reluctant to admit they make lingerie for fear they would be named and shamed in church. The Association of Folk Artists (Stowarzyszenie Tworcow Ludowych) has refused to grant the lingerie the official status of ‘folk art’, seeking to assert its right to determine and control ‘Koniakow lace’ as a brand (Grygar et al. 2004). Indeed, media interest in the story has done nothing to allay the social tensions that have appeared in Koniakow since the activities of the KONI-Art group in 2003. Rather, feasting on the story, the media has been eager to present the conflicts as a result of a liberal, young minority challenging an elderly, conservatively Catholic population within the village community. The Polish press has been keen to represent the ‘stringi’ as a symbol of burgeoning modernity, a thread that has been eagerly taken up by the international media. </p>

<p>Yet, while the image of grannies crocheting racy lingerie undoubtedly makes for eye-catching journalism, for the anthropologist it provides a case study for a much wider range of issues, particularly the relation between the transmission of craft knowledge and commercial innovation. Quite clearly, the emergence of the ‘stringi’ has challenged established norms and brought out latent conflicts surrounding issues of (sexual) morality, gender and entrepreneurship. The craft, however, is cultural knowledge shared by the majority of the women in this village and thus also a shared resource of income. The discussions and conflicts surrounding the application of a traditional technique for making ‘stringi’ can then be seen as an articulation of an ongoing negotiation of boundaries between the legitimate use and the misuse of craft knowledge. The relationship between tradition and innovation is a question of the political economy of knowledge, rather than simply the emergence of new material forms. The boundary between ‘tradition’ and ‘innovation’ is drawn through the constant renegotiation of who should know and how they should use their knowledge. </p>

<p>In July, I shall be going to Koniakow in order to conduct my first extended period of fieldwork in the village and these are some of the issues that will be informing my approach. Initially, I seek to understand why such issues as sexual morality, religious piety and adherence to craft tradition become the chosen vehicles for the articulation of this negotiation. Secondly, I seek to understand how the political economy of knowledge influences, and is influenced by, commercial practice. With the perhaps somewhat naïve enthusiasm of an amateur lace maker myself, I regard the emergence of Koniakow lace lingerie as a sign that the common prediction of the hand-made as a dying form of production is misconceived. I wonder what this case tell us about the emergence of new markets for craft objects in the globalised world. </p>

<p>Grygar J., Hodrová L. and Kočarková E. (2004) Koniakowská Krajka™. Vyjednávání tradice a lidovosti uměni ve Slezských Beskydách. In  L. Hodrová and E. Kočarková III. <em>Antropologické symposium</em>. Plzeň: Aleš Čeněk. </p>

<p>Selected press:<br />
Hańba z trzydziestu kwiatków  <em>Wysokie Obcasy  </em>(20/10/2003)<br />
Koronkowie stringi budzą kontowersje <em>Gazeta Wyborcza </em>(24/8/2003)<br />
Polish lace makers at odds over recent switch to G-strings <em>The Wall Street Journal </em>(4/6/2004)<br />
Pope’s altar cloth makers turn to a more profitable line – thongs <em>The Independent </em>(8/8/2004)<br />
Verushka’s Secret <em>The New York Times </em>(15/5/2005)<br />
<em>Heilige Höschen Stern </em>(13/4/2006)</p>]]>
      
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<entry>
   <title>New Views of Society: Robert Owen for the 21st Century</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/07/new_views_of_society_robert_ow.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7417</id>
   
   <published>2008-07-16T04:30:00Z</published>
   <updated>2008-07-16T04:30:05Z</updated>
   
   <summary>11-14 Sept 2008 - New Lanark, Scotland This event is being organised as part of a programme of events throughout 2008 to mark the 150th Anniversary of Robert Owen’s death. This major international conference will be a two stage event...</summary>
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      <![CDATA[<p>11-14 Sept 2008  -  New Lanark, Scotland</p>

<p>This event is being organised as part of a programme of events throughout 2008 to mark the 150th Anniversary of Robert Owen’s death.  </p>

<p>This major international conference will be a two stage event appealing to both academics from a range of disciplines and co-operative practitioners. The first part of the conference (from the morning of Thursday 11th September to lunchtime on Saturday 13th) will consist of a series of interdisciplinary thematic sessions exploring various aspects of Owen’s ideas and their contemporary and future relevance. The second part of the event (from lunchtime on the 13th to lunchtime on the 14th) will have a practitioner focus. It will consist of invited speakers, interactive workshop sessions and the AGM and Annual Research Roundtable of the UK Society for Co-operative Studies.  </p>

<p><img alt="Owen.jpg" src="http://blogs.nyu.edu/projects/materialworld/Owen.jpg" width="448" height="295" /></p>

<p></a> <font size="1" color="gray">Owen Memorial Plaque, Wesley Street, Newtown, Wales</font></tr></table><br />
<p><br />
 </p>

<p>This event is orginaised by the UK Society for Co-operative Studies in co-operation with partners including the Co-operative Group, Co-operative College and New Lanark Heritage Trust.<br />
 <br />
The conference will include a tour of the New Lanark Mills Visitor Centre and a Dinner on the evening of Saturday 13th September.  </p>

<p><a href="http://www.co-opstudies.org/Events.htm">www.co-opstudies.org</a></p>]]>
      <![CDATA[<p>Session topics are grouped into 3 main themes. Below each theme are suggested some aspects of Owen’s thought in these areas that might be usefully explored, but this is not by any means an exhaustive list and the organisers would welcome further relevant proposals.</p>

<p>Part 1:  Economic justice</p>

<p>                    - Ethical issues relating to trade</p>

<p>                   - Co-operative Management in theory and practise</p>

<p>                   - Trades Unions in the 21st Century</p>

<p>                   - Micro finance and Credit Unions</p>

<p>Part 2:  Practical Utopia</p>

<p>                    - Community living and co-housing</p>

<p>                   - Time currencies</p>

<p>                   - The ‘e-commonwealth’</p>

<p>                   - ‘Socialism’ then and now</p>

<p>Part 3:  Education for a better world</p>

<p>                    - Co-operative structures for delivering education</p>

<p>                   - Children’s Rights</p>

<p>                   - Co-operative Learning</p>

<p>                   - Adult and Continuing Education</p>

<p>There will also be a ‘history workshop’ style session on the Friday and Saturday exploring the impact and experiences of Co-operatives established for social change in the UK from the mid 1960s onwards.  Please let us know if you have something to contribute to this theme.</p>

<p>For booking and other information contact:</p>

<p>Richard Bickle, UK SCS Secretary<br />
Holyoake House <br />
Hanover Street Manchester<br />
M60 0AS.</p>

<p>Tel: 07768 184882<br />
Email: 	<a href="mailto:richardbickle@cooptel.net ">richardbickle@cooptel.net </a>	<br />
</p>]]>
   </content>
</entry>
<entry>
   <title>Aikido and Ideational Flow</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/07/aikido_and_ideational_flow.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7336</id>
   
   <published>2008-07-13T02:32:43Z</published>
   <updated>2008-07-13T02:50:55Z</updated>
   
   <summary>Mark Bradford, CoCA, Massey Univ &amp; Ph.D. candidate VUW Regarded as one of the most difficult and effective of the martial arts, Aikido is derived from adapting and blending ancient Japanese martial arts like Jujitsu, Karate and sword fighting with...</summary>
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      <![CDATA[<p><em>Mark Bradford, CoCA, Massey Univ & Ph.D. candidate VUW</em></p>

<p>Regarded as one of the most difficult and effective of the martial arts, Aikido is derived from adapting and blending ancient Japanese martial arts like Jujitsu, Karate and sword fighting with breathing and meditation studies. My research investigates the interdisciplinary synthesis of ideational flow and the practice and philosophy of the art of Aikido. To what extent can design leadership based in Aikido transform co-creative flow?</p>

<p>The project questions what new behaviours, skills and tools can assist designers to meet the demands of contemporary knowledge creation whilst maximising 'ways' of spreading ideas? Overall, this research seeks to understand and reflect on existing disciplinary experiences through researching other creative 'pathways' – such as ‘Aikido’ – to reflect on how designers think instead of purely what designers think. Hence the project will investigate how designers can connect broader understandings of ‘leadership’ with specific design knowledge to enhance creative performance. The emphasis is on how designers can potentially ‘manage’ their thinking within the ideation process – maximise “ways” to spread ‘memes’.</p>

<p><img alt="Mbradford.bmp" src="http://blogs.nyu.edu/projects/materialworld/Mbradford.bmp" width="300" height="300" /></p>

<p></a> <font size="1" color="gray">Photo credit: Toshiharu Sawada Shihan. Photograph by Richard Haslon, Senior Instructor, Wellington Aikido Club, Inc.</font></tr></table><br />
<p></p>

<p>Over a three-day period, audiences in New Zealand have been offered an unprecedented opportunity to observe Toshiharu Sawada Shihan (7th Dan, Kimori Dojo, Nagoya) and local Wellingtonian Aikido practitioners in training. </p>

<p>One of the ideas here was to observe specific patterns of behaviour, use of language, and symbols. The research also explores the conceptual possibilities of applying Aikido theories beyond the conventional ‘dojo’ setting – referred to as “Takemusu Aiki” or “Courageous and Creative Living” (Saotome, 1993; K. Ueshiba, 1984; M. Ueshiba, 2002) …</p>]]>
      <![CDATA[<p>Creativity is a product of the cross-pollination of many factors, including personal characteristics, social, cultural, and environmental factors (Sternberg, 1999). With design-based thinking increasingly located in between dimensions and disciplines, new thinking and ways of practicing are required by designers to stay relevant in a post-disciplinary future. This project explores ‘ways’ of connecting creative leadership in Western terms – as a product-orientated, ideas-based phenomenon (Mayer, 1999) – with an Eastern view of creativity that Pope (2005: 60) describes as the expression of an inner essence “through ‘being’ or ‘becoming’ rather than ‘doing’ or ‘making’”.<br />
 <br />
Since 2007 this research has used ethno-autobiographic methods to collect data on the culture, customs and practices of people who train regularly in Aikido at a local dojo to identify the traditions. Over the past twenty years, an increasing number of Aikidoka have been creatively extending Aikido practice outside the conventional dojo setting influencing fields such as education, psychology, health, business, sports, music and the military (Levine, 2003). Aikido differs from other martial arts for Westbrook and Ratti (1970) in its essential motivations and intentions as it is an art of self-defense – there is no attack – and there is a constant reference to the inner energy, the inner strength or ki as the particular form of energy to be employed. In addition, Aikido’s characteristic strategy is embodied in the form of entering and blending movements that are always circular, with the Aikidoka at the centre point of a ‘dynamic sphere’ of interactions occurring around the periphery.<br />
 <br />
Aikido’s versatility offers a creative answer to any kind of attack, and involves learning experientially with and through the body. Aikido cannot be practiced conceptually. For Pettman (1992: 3): “unless you do Aikido movements you can't actually know how they feel and what they ultimately mean”. The embodied knowledge is learnt through recurrent practices – within a context of action – that transcends words and language. Aikido is viewed as a ‘generative practice’ (Strozzi-Heckler, 2007b) as it “is a conscious choice to embody a behaviour that can be used in whatever situation we find ourselves. It’s a commitment to a way of being in the world. It is life affirming, creative, and it produces a reality by how we orient to our life situation” (p. 83). As McMahon (2005: 90) observed, for Ueshiba “the secret of Aikido is not in how you move your feet; it is how you move your mind” and this involves “exploring ourselves, how we move through the world and how we interact with others” (p. 86).</p>

<p>I look forward to hearing of any similar projects that bring together design, martial arts and the creativity of the body.</p>

<p><strong>References</strong></p>

<p>Levine, D. N. (2003). <em>The Many Dimensions of Aiki Extensions</em>. Paper presented at the 5th International Aiki Extensions Conference, University of Augsburg, Germany.</p>

<p>Mayer, R. (1999). <em>Fifty Years of Creativity Research</em>. In R. Sternberg (Ed.), Handbook of creativity (pp. 449-460). Cambridge: Univ. Press.</p>

<p>McMahon, J. (2005). <em>Art of Leadership</em>. Black Belt (September), pp. 85-90.</p>

<p>Pettman, R. (1992). <em>Going for a Walk in the World: The Experience of Aikido</em>. Retrieved October 22, 2004, from http://www.vuw.ac.nz/staff/ralph_pettman/aikibook.html</p>

<p>Pope, R. (2005). <em>Creativity: Theory, History, Practice</em>. Abingdon: Routledge.</p>

<p>Saotome, M. (1993). <em>Aikido and the Harmony of Nature </em>(1st Shambhala ed.). Boston: Shambhala.</p>

<p>Sternberg, R. (Ed.). (1999). <em>Handbook of Creativity</em>. Cambridge: Univ. Press.</p>

<p>Strozzi-Heckler, R. (2007). <em>The Leadership Dojo: Build Your Foundation as an Exemplary Leader</em>. Berkeley, California: North Atlantic Books.</p>

<p>Ueshiba, K. (1984). <em>The Spirit of Aikido</em>. 1st ed. Tokyo: Kodansha International.</p>

<p>Ueshiba, M. (2002). <em>The Art of Peace</em>. Boston: Shambhala.</p>

<p>Westbrook, A., & Ratti, O. (1970). <em>Aikido and the Dynamic Sphere </em>(1st ed.). Rutland, Vt.: C. E. Tuttle Co.<br />
</p>]]>
   </content>
</entry>
<entry>
   <title>The everyday life of objects</title>
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   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7367</id>
   
   <published>2008-07-09T12:30:50Z</published>
   <updated>2008-07-10T00:54:43Z</updated>
   
   <summary> Http://www.everydaylifeofobjects.net The link above, leads to a a new virtual environment recently completed by Professor Laurie Beth Clark in the Art Department at the University of Wisconsin-Madison, where you can download a virtual maze filled with a matrix of...</summary>
   <author>
      <name>Haidy L Geismar</name>
      
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      <![CDATA[<p><a href="http://blogs.nyu.edu/projects/materialworld/ELOO_1.jpg"><img alt="ELOO_1.jpg" src="http://blogs.nyu.edu/projects/materialworld/ELOO_1-thumb.jpg" width="400" height="290" /></a></p>

<p><a href="Http://www.everydaylifeofobjects.net">Http://www.everydaylifeofobjects.net</a></p>

<p>The link above, leads to a  a new virtual environment recently completed by Professor Laurie Beth Clark in the Art Department at the University of Wisconsin-Madison, where you can download a virtual maze filled with a matrix of familiar 'objects' (which are actually digital images of real objects found on retail or personal websites). Spectators navigate this maze to view the objects (an experience somewhere between a museum and a shopping mall) and, by clicking an object,  trigger sound bites that have been gathered from interviews with over two hundred individuals who have and keep things, and about what they acquire and why.</p>

<p>Its makers comment:</p>

<blockquote>I believe a post on The Everyday Life of Objects would be of interest to
your readers because it explores an experience common to us all- our
relationship to our stuff. It poses simple questions about the objects we
surround ourselves with, such as, "What do you accumulate?" "How do you
decide what to keep?" "Do you want things you don't have?" The answers are
personal, critical, and candid.</blockquote>
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<entry>
   <title>China’s Legacy: Let a Million Museums Bloom</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/07/chinas_legacy_let_a_million_mu.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7451</id>
   
   <published>2008-07-06T09:05:49Z</published>
   <updated>2008-07-09T08:21:39Z</updated>
   
   <summary>This year, Holland Cotter writes, in a drive to promote awareness of China’s national heritage, the government introduced a free-admission policy at the country’s public museums... But the look of anxious exasperation on the face of a curator watching crowds...</summary>
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      <name>Haidy L Geismar</name>
      
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      <![CDATA[<p>This year, Holland Cotter writes, in a drive to promote awareness of China’s national heritage, the government introduced a free-admission policy at the country’s public museums...</p>

<blockquote>But the look of anxious exasperation on the face of a curator watching crowds of schoolchildren swarm through a gallery of ancient ceramics here on a recent morning told a different story. They touched every exposed surface, leaned on glass cases and smeared them with fingerprints. Body contact and the art experience seemed to be inseparable.

<p>A running joke is that once only a few people came to these institutions to see the art; now many will come, not for the art but for the air-conditioning.</blockquote></p>

<p>"chinese" art museums are "different" in their materiality and audience participation to those in the "west"... </p>

<p><a href="http://www.nytimes.com/2008/07/04/arts/design/04museums.html?hp">http://www.nytimes.com/2008/07/04/arts/design/04museums.html?hp</a></p>

<p>Check out also this interactive slide show and audio guide:<br />
<a href="http://www.nytimes.com/interactive/2008/07/03/arts/design/Cotter-China-multimedia1/index.html">http://www.nytimes.com/interactive/2008/07/03/arts/design/Cotter-China-multimedia1/index.html</a><br />
</p>]]>
      
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<entry>
   <title>CTCC MA Studentships</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/07/ctcc_ma_studentships_1.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7241</id>
   
   <published>2008-07-04T05:57:23Z</published>
   <updated>2008-07-09T08:21:40Z</updated>
   
   <summary>The Centre for Tourism and Cultural Change, Leeds Metropolitan University, UK currently offers 4 scholarships for their new MA in Cultural Tourism. Four 50% Tuition Fee Scholarships for accepted candidates are up for grabs! Tourism is one of the most...</summary>
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      <![CDATA[<p>The Centre for Tourism and Cultural Change, Leeds Metropolitan University, UK currently offers 4 scholarships for their new MA in Cultural Tourism.  </p>

<p>Four 50% Tuition Fee Scholarships for accepted candidates are up for grabs!</p>

<p><img alt="CTCC%5B1%5D.jpg" src="http://blogs.nyu.edu/projects/materialworld/CTCC%5B1%5D.jpg" width="183" height="122" /></p>

<p>Tourism is one of the most important and rapidly expanding economic and social phenomena of the contemporary world. To address the intellectual, sociological and political challenges and  issues this phenomenon raises, the Centre for Tourism and Cultural Change (CTCC) at Leeds Metropolitan University has developed a new MA course in Cultural Tourism. This course will run on a full time base from September 2008. <br />
</p>]]>
      <![CDATA[<p>The MA Cultural Tourism offers:</p>

<p><br />
*        An interdisciplinary and international perspective on tourism and culture allowing you to develop an informed position in contemporary theoretical debates and applied policy programmes.</p>

<p>*        A research led programme based upon the extensive experience and international work of the Centre for Tourism and Cultural Change.  </p>

<p>*        Excellent links with regional, national and international organisations working in the tourism and culture field.<br />
 <br />
*        The opportunity to work on a 'live' case study relating to the cultural sector where you will be able to develop your own interests and skills. <br />
 <br />
*        The opportunity for you to develop your research and analytical skills which will equip you for future leadership roles in the diverse and dynamic field of cultural tourism and/or develop your interests by undertaking a PhD at the Centre for Tourism and Cultural Change. </p>

<p>Leeds Metropolitan University has one of the largest groupings of tourism researchers in the world in the CTCC and the International Centre for Responsible Tourism. <br />
 <br />
Through course modules you will be able to study: The structures and dynamics of international tourism; the social practices and performances of tourists; international tourism policy; the relationships between tourism and concepts of modernity, globalisation and colonialism; tangible and intangible heritage and their management; the role of museums and the ways by which cultures are represented; festivals and cultural events; culture and regeneration; tourism as a means of intercultural dialogue. </p>

<p>Modules include: </p>

<p>Tourism and Tourists </p>

<p>Cosmopolitanism and Cultures of Mobility </p>

<p>Researching Cultural Tourism </p>

<p>Representing and Displaying Culture </p>

<p>Managing Heritage </p>

<p>Tourism, Media and Cultural Flows </p>

<p>Tourism, Festivals and Cultural Events</p>

<p>Cultural Tourism Case Study  </p>

<p>For further information and an application form please email <ahref="mailto:culturaltourism@leedsmet.ac.uk">Dr Philip Long</a>. Or visit the CTCC website for further details: <a href="http://www.tourism-culture.com">www.tourism-culture.com </a> and follow links to postgraduate studies. </p>

<p>Centre for Tourism and Cultural Change <br />
Faculty of Arts and Society<br />
Leeds Metropolitan University<br />
Old School Board<br />
Calverley Street</p>

<p>Leeds LS1 3ED, UK<br />
Tel. +44 (0) 113 2838541<br />
Fax. +44 (0) 113- 283 8544</p>]]>
   </content>
</entry>
<entry>
   <title>Red Cloud’s Manikin</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/07/red_clouds_manikin.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7098</id>
   
   <published>2008-07-01T17:56:30Z</published>
   <updated>2008-07-09T08:21:40Z</updated>
   
   <summary>Joanna Scherer, Smithsonian Institute The following link leads to an online exhibition about researching a historical photograph of a manikin of a Native American and using it as evidence to re-identify museum artifacts that had lost their provenance over the...</summary>
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      <![CDATA[<p><em>Joanna Scherer, Smithsonian Institute</em></p>

<p><img alt="99-20263c-w.jpg" src="http://blogs.nyu.edu/projects/materialworld/99-20263c-w.jpg" width="227" height="161" /></p>

<p>The following link leads to an online exhibition about researching a historical photograph of a manikin of a Native American and using it as evidence to re-identify museum artifacts that had lost their provenance over the course of more than a century. The photograph of the manikin was selected to be used as an early representation of a Plains Indian in a museum in the <em>Handbook of North American Indians: Plains</em>, Volume 13, 2001: 30, and the exhibition includes a look at the politics of Plains Indian representation in the 1870s. Anthropologist Joanna Cohan Scherer did a detailed analysis of the photograph to find out who the manikin portrayed. The face of the manikin was found to be a representation of the important Oglala Sioux Chief Red Cloud who visited Washington, D.C. in 1872 at which time he had a cast made of his head at the Smithsonian Institution. Further research on the clothing on the manikin found that the shirt in the Smithsonian’s Anthropology collection had been labeled unidentified and investigation brought back its owner, Chief Smoke, another Sioux leader. It was also possible to reunite an early Sioux headdress collected in 1855 with its feather trailer, both shown on the manikin. The site also includes a slide show with a brief biography and many photographs of Red Cloud’s life. In summary, this site details the value of historical photographs as primary documents and the use of photographs to identify material culture items in museums. </p>

<p><a href="http://anthropology.si.edu/redcloud/index.htm">http://anthropology.si.edu/redcloud/index.htm</a><br />
Joanna Scherer, Emeritus Anthropologist<br />
Smithsonian Institution <br />
PO Box 37012<br />
NHB 85, MRC 100<br />
Washington, D.C. 20013-7012</p>]]>
      
   </content>
</entry>
<entry>
   <title>Who are you?</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/06/who_are_you.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7365</id>
   
   <published>2008-06-27T11:03:12Z</published>
   <updated>2008-07-09T08:21:40Z</updated>
   
   <summary>Having passed the 50,000 mark for unique hits - we thought it was time we reached out to you, our readers, and find out who you are...and to expand our own network... We know from statcounter that we have readers...</summary>
   <author>
      <name>Haidy L Geismar</name>
      
   </author>
         <category term="From the editors" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://blogs.nyu.edu/projects/materialworld/">
      <![CDATA[<p>Having passed the 50,000 mark for unique hits - we thought it was time we reached out to you, our readers, and find out who you are...and to expand our own network...</p>

<p>We know from statcounter that we have readers from all over the world, but we're curious to know how many of you are teachers, how many are students, what other fields you hail from and so forth</p>

<p>Please post to the comments below - let us know who you are, where you are, what you do, give us links to your sites, your spaces and your material...maybe some interesting connections will be made!</p>

<p><br />
</p>]]>
      
   </content>
</entry>
<entry>
   <title>The Comfort of Things (Polity)</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/06/the_comfort_of_things_polity.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7097</id>
   
   <published>2008-06-25T17:54:18Z</published>
   <updated>2008-07-09T08:21:40Z</updated>
   
   <summary>Daniel Miller, University College London I am not sure about the ethics of using this blog to announce ones own books, but I hope it’s excusable to at least use the opportunity to explain what I hope is different about...</summary>
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         <category term="Book Reviews" scheme="http://www.sixapart.com/ns/types#category" />
   
   
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      <![CDATA[<p><em>Daniel Miller, University College London</em></p>

<p><img alt="cover.jpg" src="http://blogs.nyu.edu/projects/materialworld/cover.jpg" width="334" height="475" /></p>

<p>I am not sure about the ethics of using this blog to announce ones own books, but I hope it’s excusable to at least use the opportunity to explain what I hope is different about this particular book from others written under the auspices of material culture studies  The most obvious difference when you open this book is that for something that is clearly intended as an academic book there are no references, no citations and no index. Instead there are thirty `portraits’ of individuals and households almost all from a single street in South London. There is a prologue which gives some indication of the academic intention and by far the most evident academic element is the final chapter or appendix which is an explicit discussion of the implications of this work for academic issues. In brief, it suggests that there is a so far unexplored potential legacy of anthropological perspectives on the world. This emerges if we dissolve away our usual dualism between the individual and some larger category of society or culture. Instead the book argues that it is possible to take the kinds of approach that anthropologists have traditionally employed in the study of society and culture and apply it directly to the household or individual. To recognise that these tiny elements of society may have created a cosmology, order and rhythm of life, a pattern of cultural form, sense of morality and many of the other creations normally seen as adhering to larger social wholes. </p>

<p>This might be argued of individuals and households of any time or age, but tthre is a further argument that it is particularly appropriate for the study of the people of contemporary London. So many of these households fail to fit the kinds of categories that are used to subsume individuals in social science. They may be in some respects working class, or women, or Brazilian, or migrant, or gay or lawyers, but none of these categories really capture what is richest about our encounters with them. The advantage of using a random street as one’s unit of enquiry is that you are forced to deal with whoever opens the door, and not choose them as tokens of social science notions of identity. So there is a fit between the particular methodology employed in this work and the theoretical arguments it makes about how people construct their worlds.</p>

<p>But this doesn’t itself explain the lack of the usual accoutrements of academia nor its link to material culture. Working on this book was a very different experience from any previous volume I have worked on. On this occasion my aim was to concentrate on the nature of writing itself. To try and create a style that  emulated more literary models rather than academic genres of writing. Something which after years of writing in academic modes, I find quite hard to do. The reasoning was that in the same way that historians have managed to make their work far more popular in the last couple of decades with a more general audience, it ought to be possible to do the same for anthropology. True we don’t have the advantage of narrative, but on the other hand we can demonstrate an empathetic encounter with people in many different ways that are particular to our discipline. So this is an attempt to create a popular work in material culture, as. In a rather different way, I had previously tried to do this along with Mukulika Banerjee in the earlier book The Sari. Though on that occasion through the use of pictures and design, without hopefully losing the academic insight that, rather than academic style, ought to be what we bring to the world as academics. What is it that I am hoping to popularize? It is basically what I have always seen as one of the larger transcendent points of material culture studies. The way that persons and things are mutually constituted, and how the study of relationships cuts across the animate and inanimate. Instead of making this point theoretically, the aim is to convey it in such a manner that it becomes an obvious implication of this reflection upon our private lives. In a subsequent edited collection together with my post-graduate students we are hoping to take the theoretical implication of this work and subject it to critique. But The Comfort of Things itself is an attempt to bring material culture studies to a different, wider audience. to Whether I have succeeded, and whether in fact this reaches that wider audience, I shall see. But then failures are often more instructive than successes, at least to authors.</p>]]>
      
   </content>
</entry>
<entry>
   <title>A Life for sale - on ebay...</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/06/a_life_for_sale.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7330</id>
   
   <published>2008-06-23T17:54:30Z</published>
   <updated>2008-07-09T08:21:40Z</updated>
   
   <summary>http://alife4sale.com/...</summary>
   <author>
      <name>Haidy L Geismar</name>
      
   </author>
         <category term="From the news" scheme="http://www.sixapart.com/ns/types#category" />
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      <![CDATA[<p><a href="http://alife4sale.com/">http://alife4sale.com/</a></p>]]>
      
   </content>
</entry>
<entry>
   <title>Living with mobile phones in Brazil</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/06/living_with_mobile_phones_in_b_1.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7096</id>
   
   <published>2008-06-20T17:49:03Z</published>
   <updated>2008-07-09T08:21:40Z</updated>
   
   <summary>Sandra Rubia Silva, PhD student, Department of Anthropology, Federal University of Santa Catarina, Brazil (sandraxrubia@gmail.com) Photo 1: A university student looks up a mobile phone number in her handset´s phonebook before using a payphone to actually make a call. Still...</summary>
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      <![CDATA[<p><em>Sandra Rubia Silva, PhD student, Department of Anthropology, Federal University of Santa Catarina, Brazil (<a href="mailto:sandraxrubia@gmail.com">sandraxrubia@gmail.com</a>)</em></p>

<p><img alt="Photo%201.jpg" src="http://blogs.nyu.edu/projects/materialworld/Photo%201.jpg" width="640" height="480" /><br />
<em>Photo 1:  A university student looks up a mobile phone number in her handset´s phonebook before using a payphone to actually make a call. Still a common scene in Brazil, where due to the high cost of subscription rates and phone calls eighty per cent of mobile phones operate on the “pay as you go” system. However, a large percentage of Brazilians trade their handsets for newer ones every year. </em></p>

<p>In Brazil, according to the Brazilian Telecommunications Agency, ever since the beginning of mobile telephony services in 1990, the number of subscribers has increased at astonishing rates: from 4.6 million in 1997 to 124 million in February 2008, to a total population of 182 million. Nowadays, the Brazilian mobile service teledensity rate – that is, the number of mobile telephones in use per 100 inhabitants – is 65,09. In the country´s capital, Brasilia, there are more mobile phones than there are people. </p>

<p>The ubiquity of mobile phones in Brazilian everyday life has captured the imagination of the media, which has published many different reports in newspapers and magazines. In August 2005, one of the most important Brazilian weekly magazines ran a cover headline on how mobile phones are changing the ways in which people socialize and work, among other issues. Those included the social and cultural impacts of mobile phone adoption and usage, and the work of a couple of social scientists doing research on it – Richard Ling and Mizuko Ito – was cited. Having come from a media studies background and in hopes of doing my PhD in Anthropology, that immediately caught my attention as a possible original research subject in the context of Brazilian academia. I started my PhD studies in March 2006, with a project entitled “The world in your hands: an anthropological study of mobile phones”. This is an ongoing project, and what I want to share here, in outline form, are some of the very first findings of the initial part of my fieldwork, carried out in the first semester of 2007. I will resume fieldwork in the second semester of 2008 through to the first months of 2009. My main field is a low-income neighbourhood in the city of Florianopolis. </p>]]>
      <![CDATA[<p>My thesis object of investigation can be defined as the study of the person-object uses and relations that occur through mobile phones. The thesis main objective is to investigate the role of this artifact, taken as a symbol of contemporaneity, in the construction of identities and new forms of sociability. Departing from the premiss that globalized contemporary culture is strongly influenced by the consumption of information and communication technologies, which are locally appropriated in different ways, my thesis is that mobile phones play an important role in the construction of immaginaries, identities and the social world in Brazilian culture as well. I argue that mobile phones constitute a lifestyle, a way of being in the world – mediated by technology – ever more characteristic of contemporaneity. Following Miller and Horst dialectical approach in their ethnography of the Jamaican mobile phone (1), my aim is not to investigate Brazilians and their mobile phones as separate entities, but rather as processes.  Therefore, my thesis will investigate such processes taking into account the relations and practices regarding people and their mobile phones in the context of Brazilian culture, aiming at understanding the cultural logic of such processes and practices in the perspective of a globalized consumer society. In this sense, some important questions arise: what is implied in the relationship of Brazilians to their mobile phones? What are the specificities of Brazilian culture when it comes to he local appropriation of a global technology? What immaginaries are activated in the representations made about mobile phones? How can the consumption associated with cell phones contribute to the construction of self or group identities? What role do categories such as class and gender, for instance, play in such processes? How to understand the cultural logic that commands their consumption? </p>

<p>The comments to follow are a result of my observations in public places, as well as seven in-depth interviews carried out between January and May 2007 with individuals of middle-class and low-income groups, aged between twenty to around forty years of age, in the cities of Blumenau and Florianopolis, in the Brazilian southern state of Santa Catarina. I also use data from the social networking website Orkut as a priviledged means of access to both discourses on new cultural practices deriving from the use of mobiles and the social imaginary that circulates about mobile phones in Brazil.  There are over a thousand virtual communities about mobile phones on Orkut, as shown by their search engine when the keywords “mobile” or “mobile phones” are entered. However, it was not possible to determine the exact figure. </p>

<p>Two main issues emerges from these first findings: first, the role of mobile phones in the symbolic inclusion of social agents in what they conceive to be “modern”. Second, the relations between mobile phones and corporality, as well as the emotional side implicated in the person-mobile phone relationship. An important aspect to be considered refers to the existence, at times, of an affective relationship between individuals and their devices; also, the dependance or addiction to mobile phone and the content stored in them (2).  The relation between mobile phones and corporality has yet another very relevant aspect which is, obviously, connected to identity: fashion.</p>

<p>Infomants generally were unanimous in affirming that those who do own a mobile phone are “modern, part of their times, are in the world” and those who do not, or possess an older model (often referred to as “tijolao” - “the big brick” or “patacao” – this last one meaning something near “bulky”) are often looked down at, or subject to questions such as “Aren’t you ashamed of having such a phone?”, thus diminishing their possibilities of interaction in social networks. In Orkut, for instance, there’s indeed a community named  “Are you ashamed of my phone?”. Such community deals with the comments of those who own “the infamous brick” phones, considered by many to be a “white weapon” and, last but not least, whose mobile phone was already the target of “nasty jokes”. Gabriela, a twenty-four year-old fashion designer, says that before trading her old phone for a newer model she kept it ringing inside her purse. She did this so as not to risk embarassment or  “feel ashamed” (lose face) in public places.</p>

<p>Similarly, the affective relationship becomes evident when social agents dedicate human feelings to mobile phones. Examples include love, hatred, shame, and jealousy. There are even those who attribute their mobile phone a name. There are some Orkut communities which support the argument exposed above, such as: “I love my mobile”; “I hate my mobile”; and “My mobile has got a name!” (“This community is for those who love their mobile phone so much and feel to close to it that ended up giving them a name! Those people who, upon losing their mobile phone, go out in the street and cry out its name!!!”). Affective relationship and technological dependance, in their varied nuances, find a convergence point in the argument that the mobile phone is compared to life itself. This argument becomes explicit in one of the most popular online communities on Orkut, “I can’t live without a mobile phone”, which has more than sixty-two thousand members. Following the same line of thought, I could also find “ I don’t live without my mobile phone”, with 1,800 members, and “I never let go of my mobile phone”, whose presentation text states that that’s a community “for those who never let go of their mobile phone – not even for sleeping… while taking a shower have their mobiles with them… for those who let their pet starve but never ever let their mobile phone run out of battery…”.</p>

<p>Vania, a cleaner in her mid-thirties who lives in a low-income community in Florianopolis, feels that changing from the status of have-not to owning a phone is something to be proud of. She got her first mobile phone in mid-2005, as a gift from the lady she worked for. Her quote shows how she perceives the possession of a mobile phone as an important part of what means to be “someone”: “Mobiles, I never had one, never had, and I couldn’t wait to get one, because I thought everyone has one, so why can’t I? But God is so good, so good, God is just, then I worked in a house. I worked in a house, as a cleaner, the lady loved me, so… [...] and then I always kept thinking like oh my God, will I ever have a mobile phone? Who knows, for God nothing is impossible. [...] Then I went there on Tuesday to work and she said to me “Mrs. Vania, I gave a present for you” and I replied “A present? What will you give me?” “I have a mobile phone for you, do you want it?”. Then I said out loud: “Oh my dear Lord, this is wonderful… Now I’m really someone, I’m posh!” Oh my God, and I was all jumping up and down because of the mobile phone. Then she gave it to me, with the charger and everything, it was really useful. But mind you: I don’t know how to use the phone. The only thing I know: to open it, or to press this or that button.”</p>

<p><img alt="Photo%202.jpg" src="http://blogs.nyu.edu/projects/materialworld/Photo%202.jpg" width="640" height="480" /><br />
<em>Photo 2: Vania in her living room with her two handsets, rarely used for making calls – the second got from her husband. Vania’s sons, aged nine and eleven, sometimes ask their mother to borrow her mobile phone when going out with friends. She laughs when she tells me her sons prefer the newer model (on the right-hand side of picture): “This one here they really don’t want; they say it is ugly. They say phew Mom, what an ugly thing. People don’t use it anymore, Mom”.</em></p>

<p>Regarding the relation of mobile phones to fashion, the varied range of handsets available, the multiplicity of accessories to be used with them, and the dissemination of its use among all social classes attest to its impact on identitary productions. As they become fashion accessories – to be personalized according to the owner – mobile phones end up constituting, as Katz (3) argues – rather enthusiastically - “[…] miniature homunculi of the person, holding not only one’s acess to the larger world but one’s identity, self-knowledge and future plans as well” (2006:175). In this sense, Paula, a thirty year old  advertising executive and universty teacher, explains how she “grooms” her mobile like she grooms herself and likes to have it always with her: “I believe that by looking at someone’s mobile one can see something of the owner in it. Me, for example. I’ve always liked glittery and sparkling things: sparkling earrings, rings, of course my mobile phone also had to be sparkling, you know… I think it is sort of an extension of myself…”</p>

<p>Similarly, there  are other online communities on Orkut dedicated to people who are fond of discussing about mobile phone adornment practices. There are, for instance, one entitled “I love mobile phone charms” and also “This mobile phone has style”, whose text goes “Charms, trendy covers, charms with fluffy animal toys, screensavers, photographs, stickers, personalised ringtones, etc., is your mobile phone just like that? Do you just love updating it? Then take part in this community…” There are also very popular communities, such as “My mobile phone is adorned” which has more than a thousand members. <br />
 <br />
<img alt="Photo%203.jpg" src="http://blogs.nyu.edu/projects/materialworld/Photo%203.jpg" width="480" height="640" /><br />
<em>Photo 3: At a shop in São Paulo, a client waits to have her mobile phone carefully adorned with stickers and Swarosky crystals. </em></p>

<p>The centrality acquired by mobile phones in Brazilian´s everyday life reveals its consolidation as an important form of inclusion of social actors in the fast, fluid and mobile dynamics of contemporaneity. Owning a mobile phone has become a way of being in the world – mediated by technology – which seems to be increasingly more important in contemporary culture. Based on these first findings of my fieldwork, which highlight the importante of the possession – but not necessarily of the actual use, as Vania’s case shows -  I argue that, rather than mere technical objects, mobile phones in Brazil are used as social objects. One of the ways to do so is to treat the mobile phone as a fashion accessory, important in one’s self-presentation.  But this seems to be only the tip of the iceberg. As my research moves further and my understanding of the subject deepens, I hope to advance more in the comprehension of which cultural metaphors are connected to Brazilians and their mobile phones.</p>

<p>If you are researching a similar subject or would like to leave a comment, I’d really appreciate to hear from you. </p>

<p>(1)  MILLER, Daniel; HORST, H. The Cell Phone: an Anthropology of Communication. Oxford; Berg, 2006. <br />
(2) LASEN, Amparo. Affective technologies: emotions and mobile phones. Surrey: The Digital World Research Centre, 2004. Retrieved from: <www.surrey.ac.uk/dwrc/Publications/AllPubs.pdf >. Acess on: 20 abr. 2007.<br />
(3) KATZ, James E. Magic in the air: mobile communication and the transformation of social life. New Brunswick, N.J.; London: Transaction, 2006. <br />
</p>]]>
   </content>
</entry>
<entry>
   <title>The &apos;real&apos; crystal skull</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/06/the_real_crystal_skull.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7304</id>
   
   <published>2008-06-18T14:30:07Z</published>
   <updated>2008-07-09T08:21:40Z</updated>
   
   <summary>This link was passed on from Sandra Rozental, NYU Anthropology: Quai Branly will be exhibiting their famous crystal skull as a celebration of the new Indiana Jones movie......</summary>
   <author>
      <name>Haidy L Geismar</name>
      
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      <![CDATA[<p>This link was passed on from Sandra Rozental, NYU Anthropology:</p>

<p><img alt="5a3a6a926a.jpg" src="http://blogs.nyu.edu/projects/materialworld/5a3a6a926a.jpg" width="220" height="294" /></p>

<p><a href="http://www.quaibranly.fr/en/actualites/exceptional-presentation-of-the-crystal-skull-from-the-musee-du-quai-branly-collections/index.html">Quai Branly will be exhibiting their famous crystal skull as a celebration of the new Indiana Jones movie...</a></p>]]>
      
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</entry>
<entry>
   <title>What is treasure hunting? What is archaeology?</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/06/what_is_treasure_hunting_what.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7155</id>
   
   <published>2008-06-16T18:24:28Z</published>
   <updated>2008-07-09T08:21:40Z</updated>
   
   <summary> The latest newsletter from SAFE (Saving Antiquities for Everyone) challenges the recent admittance of Harrisson Ford (aka Indiana Jones) to the Board of Directors of the Archaeological Institute of America... Archaeologist Dr. Oscar Muscarella, outspoken critic of the antiquities...</summary>
   <author>
      <name>Haidy L Geismar</name>
      
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      <![CDATA[<p><img alt="indiana_jones.png" src="http://blogs.nyu.edu/projects/materialworld/indiana_jones.png" width="187" height="200" /></p>

<p>The latest newsletter from SAFE (Saving Antiquities for Everyone) challenges the recent admittance of Harrisson Ford (aka Indiana Jones) to the Board of Directors of the Archaeological Institute of America...</p>

<blockquote>Archaeologist Dr. Oscar Muscarella, outspoken critic of the antiquities trade and the plunder of archaeological sites, objects to the recent election of Harrison Ford-of Indiana Jones fame-to the Board of Directors of the Archaeological Institute of America (AIA). AIA is North America's oldest and largest non-profit organization devoted to archaeology, and according to the AIA website, "the legendary archaeologist Indiana Jones ... shows his commitment to real archaeology."  However, according to Dr. Muscarella, Indiana Jones is not an archaeologist, but a plunderer. 

<p>And lest we think that Dr. Muscarella's is an isolated opinion, consider a recent statement (lohud.com) by Mark Rose, online editorial director for the Archaeological Institute of America, who also holds a PhD in archaeology: "There are codes of ethics in archaeology, and I don't think [Indiana Jones] would be a member [of the profession]. Not in good standing, anyway." Professor Bob Murowchick, associate professor of archaeology at Boston University, bemoans the fact that "the movies emphasize the tomb-raiding aspect, leaving the impression that artifacts are there for the taking by whoever stumbles on them first.... The one thing we do worry quite a bit about is the looting aspect, because archaeological looting is really a serious issue," Professor Murowchick said. </p>

<p>It's ironic, as the Associated Press's David Germain points out, that "the closest thing to authentic archaeology in the "Indiana Jones" flicks is done by the bad guys, whose elaborate, systematic digs in 'Raiders' resemble actual excavations." Dr. Jane MacLaren Walsh, an anthropologist for the Smithsonian Institution's National Museum of Natural History, agrees. "Not a whole lot of what we know as archaeology goes on in these movies, except what the Nazis do. They seem to be doing some real archaeological work," Walsh said. </p>

<p>Is Indiana Jones a plunderer? Do Indiana Jones movies legitimize plunder and/or treasure hunting?<br />
</blockquote><br />
Take the poll on SAFE's blog <a href="http://safecorner.savingantiquities.org/">SAFECORNER</a> and tell us what you think. Add your voice to the discussion on this important issue.</p>]]>
      
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</entry>
<entry>
   <title>Art Booty in London&apos;s East End</title>
   <link rel="alternate" type="text/html" href="http://blogs.nyu.edu/projects/materialworld/2008/06/art_booty_in_londons_east_end_1.html" />
   <id>tag:blogs.nyu.edu,2008:/projects/materialworld//137.7116</id>
   
   <published>2008-06-14T16:00:00Z</published>
   <updated>2008-07-09T08:21:40Z</updated>
   
   <summary>Art lovers descended on London&apos;s Brick Lane on the week end of June 7-8 in search of some bargains at Europe&apos;s coolest car boot sale. photo by Linda Nylind From the Guardian Unlimited...</summary>
   <author>
      <name></name>
      
   </author>
         <category term="From the news" scheme="http://www.sixapart.com/ns/types#category" />
   
   
   <content type="html" xml:lang="en" xml:base="http://blogs.nyu.edu/projects/materialworld/">
      <![CDATA[<p>Art lovers descended on London's Brick Lane on the week end of June 7-8 in search of some bargains at Europe's coolest car boot sale.</p>

<p><img alt="car%20booty.jpg" src="http://blogs.nyu.edu/projects/materialworld/car%20booty.jpg" width="300" height="180" /></p>

<p></a> <font size="1" color="gray">photo by Linda Nylind</font></tr></table><br />
<p></p>

<p><br />
From the <a href="http://www.guardian.co.uk/travel/interactive/2008/jun/10/vauxhall.art.car.boot">Guardian Unlimited</a>  </p>]]>
      
   </content>
</entry>

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