Podcast appearances and mentions of Tim Ingold

Through her “archaeology of the future” design approach, the Lebanese-born, Paris-based architect Lina Ghotmeh has firmly established herself as a humanist who brings a profound awareness of past, present, and presence to all that she does. In the two decades since winning her breakthrough commission—the Estonian National Museum in Tartu—her practice has taken off, with Ghotmeh swiftly becoming one today's fastest-rising architectural stars. Just a week after we recorded this episode of Time Sensitive, she was named the winner of a competition to design the British Museum's Western Range and, shortly after that, she was announced as the architect of the new Qatar Pavilion in the historic Giardini of Venice; she is also the designer of the Bahrain Pavilion at the just-opened 2025 Osaka Expo. Across her high-touch, high-craft projects, whether a brick-clad Hermès leather-goods workshop in Normandy, France, completed in 2023; the timber-framed 2023 Serpentine Pavilion in London; or the concrete-walled Stone Garden apartment tower (2020) in Beirut, Ghotmeh celebrates the hand.On the episode, Ghotmeh reflects on the long-view, across-time qualities of her work and outlines what she believes is architecture's role in shaping a better world ahead.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Lina Ghotmeh[5:01] “The Shape of Time: Remarks on the History of Things”[5:01] George Kubler[5:01] Trevor Paglen[8:41] “The Long View: Why We Need to Transform How the World Sees Time”[8:41] Tim Ingold[11:15] “Windows of Light”[11:15] “Lecture: Lina Ghotmeh”[12:06] Beatriz Colomina[12:06] “Are We Human?”[19:58] Gaston Bachelard[24:04] Olga de Amaral[24:04] Cartier Foundation[24:04] Juhani Pallasmaa[24:04] “The Eyes of the Skin”[26:39] Luis Barragán[31:09] Stone Garden (2020)[31:09] Hermès Workshops (2023)[36:36] Peter Zumthor[36:36] “Atmospheres”[41:53] Khalil Khouri[44:51] Jean Nouvel[44:51] Norman Foster[44:51] Estonian National Museum (2016)[46:41] Renzo Piano[46:41] Richard Rogers[46:41] Maya Lin[46:41] Dan Dorell[46:41] Tsuyoshi Tane[50:45] “The Poetic, Humanistic Architecture of Lina Ghotmeh”[51:40] Rimbaud Museum[54:48] “Light in Water” (2015)[54:48] The Okura Tokyo[59:22] Les Grands Verres, Palais de Tokyo (2017)[59:44] Zero-Carbon Hotel Concept (2019)[59:42] Serpentine Pavilion (2023)[1:04:11] Osaka Expo Bahrain Pavilion (2025) 

Bible Study Don't just take our word for it . . . take His! We would encourage you to spend time examining the following Scriptures that shaped this sermon: . Sermon Outline Because we follow a crucified King, we must Persist when rejected with Christ Forgive when reviled for Christ Believe when offended by Christ Sermon Questions The minister, John Stott, famously ascribed to our culture an "anti-authority mood." What do you think he meant? This sermon uses Jesus's trade (Mk 6:3, "Is not this the carpenter...?") as a window into the meaning of discipleship. What other biblical truths need to be considered, to avoid the misguided conclusion that Jesus is an obsessive moralist, and moral perfectionism? Twice in Acts (18:6, 20:27), the apostle Paul says that he is "innocent of the blood of all," because he had discharged the duty entrusted to him by God. Can you say the same? Or is there a relationship, or area of life, where you are resisting risky discipleship, because of the prospect of rejection? In what ways are Christians reviled (if that isn't too strong a word!) in our culture? How should we respond? Jesus "marveled" because of the unbelief of God's people (Mk 6:6). By contrast, he "marveled" at the belief of the Roman centurion (Mk 8:5–13). What is the warning here? And what is the next step for obedience? Resources Referenced Eckhard J. Schnabel, New Testament Theology (Baker Academic, 2023) C.F.D. Moule, The Gospel according to Mark, CGTC (Cambridge, 1979). Ezra Gould, The Gospel according to St Mark, ICC (T&T Clark, 1912). William L. Lane, The Gospel of Mark, NICNT (Eerdman's, 1974). David Esterly, The Lost Carving: A Journey to the Heart of Making (Penguin, 2013). Tim Ingold, "Walking the Plank: Meditations on a Process of Skill," in Being Alive: Essays on Movement, Knowledge and Description (Routledge, 2022), 63–81. Glenn Adamson, Fewer, Better Objects: The Hidden Wisdom of Things (Bloomsbury, 2018). Questions? Do you have a question about today's sermon? Email Sam Fornecker ( ).

Episode 107 of ⁠A is for Architecture⁠ is a discussion with Tim Ingold, Emeritus Professor of Social Anthropology at the University of Aberdeen about Making: Anthropology, Archaeology, Art and Architecture, published by Routledge in 2013.  Acts of making, as the blurb puts it, ‘creates knowledge, builds environments and transforms lives.' The book reflects ‘on what it means to create things, on materials and form, the meaning of design, landscape perception, animate life, personal knowledge and the work of the hand'. It's a beautiful subject, and a great conversation. Tim is a fellow of the British Academy and the Royal Society of Edinburgh. He was awarded a CBE in 2022 for services to anthropology. His scholarship be found in all good libraries. He has a website, timingold.com, and his professional profile can be found on the University of Aberdeen website. Thanks for listening. +  Music credits: ⁠Bruno Gillick

On this episode, my guest is , a friend and scholar who recently completed his PhD in Cultural Geography from The University of Edinburgh where his research centered on themes of displacement and memorial walking practices in the Highlands of Scotland. A child of Greek political refugees on both sides of his family, Christos' work looks at ways in which ceremony and ritual might afford us the capacity to integrate disconnection from place and ancestry. Further, his research into pre-modern Gaelic Highland culture reveals animistic relationship with mountains which disrupt easy definitions of colonialism and indigeneity.Show Notes:Summoning and Summiting a DoctorateThe British Empire & EverestThe Three Roots of FreedomHillwalkers and HomecomingThe Consequences of Staying and LeavingThe Romans Make a Desert and Call it PeaceFarming EmptinessLandscapes as MediumsRitualized Acts of WalkingHomework:Christos Galanis' Official WebsiteTranscript:Chris: [00:00:00] Welcome, Christos, to the End of Tourism podcast. Christos: Thank you, Chris. Chris: Thank you for joining me today. Would you be willing to let us know where you're dialing in from today? Christos: Yeah, I'm calling in from home, which at the moment is Santa Fe, New Mexico in the United States. Yeah, I moved out here for my master's in 2010 and fell in love with it, and and then returned two years ago.So it's actually a place that does remind me of the Mediterranean and Greece, even though there's no water, but the kind of mountain desert. So there's a familiarity somehow in my body. Chris: Sounds beautiful. Well I'm delighted to speak with you today about your PhD dissertation entitled "A Mountain Threnody: Hill Walking and Homecoming in the Scottish Highlands." And I know you're working on the finishing touches of the dissertation, but I'd like to pronounce a dear congratulations on that huge feat. I imagine after a decade of research and [00:01:00] writing, that you can finally share this gift, at least for now, in this manner, in terms of our conversation together.Christos: Thank you. It was probably the hardest thing I've done in my life in terms of a project. Yeah. Nine years.Chris: And so, you and I met at Stephen Jenkinson's Orphan Wisdom School many years ago. But beyond that from what I understand that you were born and raised in Toronto and Scarborough to Greek immigrants, traveled often to see family in Greece and also traveled widely yourself, and of course now living in New Mexico for some time. I'm curious why focus on Scotland for your thesis? Christos: It was the last place I thought I would be going to. Didn't have a connection there. So I did my master's down here in Albuquerque at UNM and was actually doing a lot of work on the border with Mexico and kind of Southwest Spanish history.I actually thought I was going to go to UC San Diego, partly because of the weather and had some connections [00:02:00] there. And two things happened. One was that you have to write your GRE, whatever the standardized test is you need to do for grad school here in the US, you don't have to do in the UK. So that appealed to me.And it's also, there's no coursework in the UK. So you just, from day one, you're just doing your own research project. And then I wanted to actually work with what Was and probably still is my favorite academic writer is Tim Ingold, who was based in Aberdeen up in the north of Scotland and is kind of that thing where I was like, "well if I'm gonna do a PhD What if I just literally worked with like the most amazing academic I can imagine working with" and so I contacted him. He was open to meeting and possibly working together and so I was gonna fly to Scotland.I was actually spending the winter in Thailand at the time, so I was like, if I'm gonna go all the way to Scotland, maybe I should check out a couple more universities. So, I looked at St. Andrews, which is a little bit north of Edinburgh, and then Edinburgh, then visited all [00:03:00] three schools, and actually just really fell in love with Edinburgh, and then in the end got full funding from them. And that took me to Scotland. And I didn't know what was in store for me. I didn't even follow through on my original research project, which had nothing to do with Scotland. The sites that I was actually proposed to work with was on the Dine reservation out here in Arizona. There's a tradition, long tradition of sheep herding and there's a lot of, some friends of mine have a volunteer program where volunteers go and help the Diné elders and herd their sheep for them and what's happening is they're trying to hold on to their land and Peabody Coal, a coal mining company, has been trying to take the land forever and so by keeping on herding sheep, it allows them to stay there.So I was actually kind of looking at walking as forms of resistance and at that time, most undocumented migrants trying to enter Europe were walking from Turkey through Macedonia. So I was actually going to go there. And yeah, once I kind of hit the ground, I realized that that's way too ambitious.And I [00:04:00] decided to focus on this really strange phenomenon called Monroe Bagging in the Highlands of Scotland, where people work all week in their office, Monday to Friday, and then spend their weekends checking off a task list of 282 mountains that they summit. There's 282 of them and they're categorized that way because they're all over 3, 000 feet, which for us in North America, isn't that high, but for the Scottish Highlands, because they're very ancient, ancient, worn down mountains is pretty high.And also the weather and the climate and the terrain make it pretty treacherous out there. So it's, it's not an easy thing. Yeah. And I just thought this is a really weird, strange way to relate to mountains and to land. And it seems like a very British thing to do. And I kind of just got curious to figure out what was going on and why people would actually do this.And it came from a very, actually, critical perspective, to begin with. As things unfolded, that changed a fair amount in terms of getting to know people. But, yeah, that was Scotland. And, I think looking back, I think [00:05:00] I was called there by the mountains. I can give the bigger context maybe later on, but essentially one of the main mountain called Ben Cruachan, in Argyle that I ended up most working with and kind of going in and doing ceremony for, and with. I ended up later meeting my what would become my wife and married into her family and on one side of her family, they are literally the Macintyres who are from that mountain. So yeah ended up kind of going there and marrying into a lineage of a mountain that was the center of my my dissertation.So in the end I think I was called there. I think I was called to apprentice those mountains. And then I feel like my time ended. And I think this dissertation is kind of the story of that relationship with that courtship.Chris: Beautiful. Well, thank you so much for that beautifully winding answer and introduction. So, you know, a lot of your dissertation speaks to kind of different notions of mountain climbing, summiting, hiking but you also write about [00:06:00] how our cultural or collective understandings of mountains have defined our ability to undertake these activities.And I'm curious, based on your research and personal experience, how do you think mountains are understood within the dominant paradigm of people who undertake these practices. Christos: Yeah, good question. I would say, I know I don't like to speak in universals, but I could say that one universal is that, as far as I can tell, all cultures around the world tend to not only revere mountains, but tend to relate to mountain peaks as sacred.And so in most cultures, at least pre modern culture, you will always find a taboo around ever actually climbing to the top of a mountain, especially a significant mountain. So ways that you might worship a sacred mountain, for example, you know, in Tibet is to circumnavigate. So hiking, walking around a mountain three times or walking the perimeter of a mountain, kind of circling [00:07:00] around and around the summit.But it would be absolutely abhorrent to actually ever climb to the top. So one thing I was interested in is what happened, what shifted, where in the past people would never think of climbing a mountain summit to that becoming almost the only thing that people were focused on. And I didn't know this, but out of all countries, the country that most intensely kind of pursued that practice was, was England, was Britain, actually.So it's really fascinating. There's this period, the Victorian era, where basically Britain is invading other countries such as Nepal, India, into China, into Kenya, parts of Africa, South America certainly here in North America and the Americas and of course mountain ranges serve as pretty natural and intense frontiers and barriers, especially back then before. You know, industrial machinery and airplanes and things [00:08:00] like that, you're going over land. And so to be able to get through a mountain range was a pretty intense thing. Really only became possible with kind of Victorian era technology and because they were able to penetrate these places that people really couldn't have before it was a way of kind of proving modern supremacy or the supremacy of kind of modern secularism.Because even in places like Sutherland and the Alps, the indigenous Swiss also considered like the Alps sacred, the mountain peaks and wouldn't climb them. And so as the British kind of came up into these mountain ranges. They had the idea of proving that essentially there were no gods on these mountaintops.There was nothing sacred about them. It's just a pile of rock and anybody can climb up and nothing's going to happen to them. And so they really started setting out to start summiting these mountains. And it was mostly military engineers. There's a big overlap between kind of military engineering and surveying and [00:09:00] map making and this kind of outdoor kind of Victorian kind of proving your manhood against nature kind of thing.And so it's a strangely poetic and very grief soaked proposition where increasingly humans had the technology to penetrate anywhere on the planet, you know, more and more. And maybe I'll just go into the story of Everest because it was perceived that the, the earth had three poles.So the North pole, the South pole, and Everest is the highest peak on the whole planet. So there was this race to set foot on the North Pole on the South Pole and on Everest. I don't know much about the North and South Pole expeditions I think they were first but Everest was kind of like yeah I think Everest was the last literally the last place on earth that humans weren't able yet to physically step foot on. And so the British set out to be the ones to do it after World War one. And there's another overlap where most of the men that were obsessed with mountain summiting after World War I had [00:10:00] been through the horrors of World War I and had a lot of PTSD and shell shock and kind of couldn't reintegrate back to civilian life.They kind of needed that rush of risking your life for some kind of larger goal, which warfare can provide. And, slowly they kind of got better technology and eventually by, I think it was maybe 1952, 1953, they finally conquered Everest. And it's almost like the moment that they penetrated this last place of wilderness that was holding out the British Empire started collapsing, which the timing is quite fascinating. You know, they lost India and Pakistan. And as soon as you kind of are able to dominate everything, there comes this nostalgia immediately for wild places. And this is where Scotland comes back in. Where, Scotland, the Highlands have been inhabited for tens of thousands of years.There's nothing wild about them. There were villages everywhere. But what happened through the [00:11:00] 16, 1700s was the Gaelic population, the indigenous population were ethnically cleansed. And then kind of the lands that follow for maybe 100 years. And then when the English started coming in, they were like, "Oh, this is wilderness.These mountains have never been climbed before. We're going to be the ones to conquer them because we're the superior race." And they did so, and when I chose the the title of my thesis used this little known word, Threnody, which is actually from Greek, Threnodia, which translates something as like a song of grief or a song of lament.And I think for me, this incessant kind of like summiting of mountains and risking and sometimes losing your life to penetrate these places where you actually don't retain control, or it's very hard to retain control, right, because of like storms in the weather, that it's almost like a kind of mourning for the loss of the very things that this technology has kind of erased or has compromised.So it's almost, I can't even put into words the feeling around it, but it's almost like, [00:12:00] You're doing the thing that's destroying something, but you have the impulse to keep doing it as a way of connecting to the thing that's being lost, if that makes sense. And I can imagine, you know, maybe all the work that you've done around tourism might have a similar quality to it.There's, I don't know, there's like a melancholy that I experience interviewing and going out with these people that I don't think they would ever be conscious of or even name, but there's a longing for something that's missing. And so that's where also this kind of song of lament theme comes into my, into my dissertation.Chris: Yeah, it's definitely something that shows up over and over again in these conversations and thank you for putting it into such eloquent words is that. I think it really succinctly speaks to the, the condition or conditions at hand. And I guess I'm curious you know, in regards to what you just said about notions of freedom [00:13:00] that are often experienced in touristic experiences or contexts and some of your dissertation centers around the freedom that your friends and hill walking acquaintances experienced there in the Highlands and freedom can often seem like a kind of recurrent trope sometimes in describing the tourist's reasons for travel.And surely outside of a trope for many people's reasons for travel you know, especially in the context of migration. Beyond the surface, we can wonder about the inheritance of ancestrally or ancestral indentured servitude, the commons and the lack thereof in our time and also like a kind of communion or relationship with what you refer to as other than human worlds. And I'm curious what kind of contradictions or insights came up for you in regards to the supposed freedom that was either found or sought after by the Hillwalkers you encountered.[00:14:00] Christos: Thank you. Yeah, I think before I started going deep into this, I probably, I probably shared most people's notion of freedom, which most of us don't ever really sit and wonder that deeply about.But there's a section of my dissertation where I go deep into freedom and I actually look at three different cultural and kind of etymological or linguistic lenses through which to understand freedom. And there's two that the people I interviewed, I think, were most practicing. So the word freedom itself comes from the Germanic, and it's two words.It's broke frei, which is "free," "to be free." And dom, translates kind of as "a judgment." So if you know like doomsday or the doomsday book. What the doomsday and judgment day actually mean the same thing It's just doom is like the older Germanic word for judgment. Okay, and so freedom can kind of translate as like freedom from judgment freedom from constraint and it has this quality of like spatially removing [00:15:00] yourself or getting distance from something that might constrain you, so you mentioned indentured servitude and slavery, which are as old as human civilization across the world.And all these different things that, basically, we are more or less constrained by, whether it's, family, the state, our living conditions, poverty, excess wealth, you know, all these things that might, or the expression of our true life force. And so for a lot of the people that I was working with, that was certainly what they would describe, you know, like I work in an office as a manager Monday through Friday in Edinburgh, and then it's only on the weekends that I get out into the hills and I truly feel alive and free, right? Because I'm in this vast expanse and, I mean, It's not my climate. I'm Greek by both sides. Wet, soggy moss and mold and endless rain and drizzle and cold and dark is not my thing, but it is visually stunningly beautiful. And you know, [00:16:00] and I'm sure we all know the experience of getting up to a peak of something and that sense of kind of almost being removed from the everyday and that sense of like maybe connecting to something higher or bigger.So that sense of freedom is obvious. The other, another lens is through Latin liberty or libertas, which comes from ancient Roman society, which was a heavily hierarchied society where up to 60 percent of people were actually slaves. So, there's a big distinction between those who are free and those who are slaves.And so the idea of liberty, and this also came up with my informants is the idea that you have to compare yourself to another and the more freedom you have compared to someone else, the better it feels. And I think of that as all the mechanics of like air airports and you know, first class lines and first class seating.I had the experience once flying because flying from New York through back to [00:17:00] London to get back to Edinburgh. And for the first and only time in my life I was bumped up to first class for some reason, I don't know why. But it was on, I don't know, one of the newer kind of jumbo jets, and the difference between economy class and first class in many ways is pretty profound.At the same time, it's ridiculous because you're all sitting in the same tube. But I remember the feeling that happened once we took off and they drew the curtain between the first class and everyone in the back. And it was this experience where everyone back there just disappeared.It's just kind of like, you can't see them, they're out of sight, out of mind, and you're just up front. You can lay down completely horizontally in these chairs, you have real glass, glassware and real cutlery, you know, and people treat you super, super nice. But like, in order to enjoy that, you need other people to not be enjoying that, right?So the idea of liberty kind of requires another, or it's almost a zero sum game where someone else has to be losing for you to be winning. And you know, I think of that with tourism, the idea that those of us from the North, you know, are stuck [00:18:00] at home in the winter while those with money, you know, can fly off to Mexico or Costa Rica and stuff like that.So that difference that like your experience is enhanced by other people's discomfort or suffering. And then I came across another lens, which comes from the Greek. So the Greek word for freedom is Eleftheria. And I didn't know the etymology, but one of my office mates in Edinburgh was from Greece, and we sat down with like a Greek etymological dictionary and I discovered that the Greek notion of freedom is completely different.It's almost counterintuitive, and it translates as something close to " loving the thing you were meant to love" or like "being the thing you were meant to be." And even more distinctly, the rios part in Eleftheria would translate into something like "returning to your home harbor after like a long voyage," and it's that, it's literally the experience of coming home, [00:19:00] which in a way is the freedom of not wanting to be anywhere else or to be anyone else, which is in some ways, I think to me, the most true freedom, because you don't want for anything, you actually love everything you are and everywhere you are, and you don't want to go anywhere else.So in that way, I think for me, cultivating a connection to place as an animist, you know, and I think that's a lot of what you and I I imagine experienced, you know, listening to Steven Jenkinson's many stories that keep circling around this idea of, you know, belonging is cultivating that place in you or that muscle in you that doesn't want to be anywhere else, doesn't want to be anybody else, but is actually satisfied and fulfilled by what is, which it's probably at the heart of most spiritual traditions at the end of the day, but to think of that as freedom, I think for me, really, really changed my perspective from, the idea of going around the world as I have and certainly in the past to experience all these different things and to [00:20:00] feel free and to be a nomad versus I would say the freedom I have here of loving Santa Fe and not imagining myself being anywhere else right now.Chris: Well, the theme of homecoming is definitely woven into this work, this dissertation, alongside hill walking.They seem, generally speaking, superficially very disparate or distinct activities, homecoming and hill walking. One is going and then it's coming. And I'm curious if you could elaborate for our listeners a little bit of what those terms mean, and where or how they come together in your work.Christos: Yeah. So the title of my dissertation, you know, is a "A Mountain Threnody: Hillwalkers and Homecomers in the Highlands of Scotland."So I set out to study hill walkers, which is basically a British term for going out for a walk or a hike where the focus is summiting some kind of peak, you know, whether a hill or a mountain, but that's what most people do there. When you set out on a walk, it's just assumed that you're going to end up going to the top of something and then [00:21:00] back down.What ended up happening is actually through Stephen Jenkinson's Orphan Wisdom School, I met several other Canadians of Scottish descent who had already or were planning on going quote "back" to Scotland to connect with their ancestral lands and their ancestors which is a lot of the work with Stephen's school and that, you know, that idea of connecting with your ancestry and with your roots and with your bones.And I kind of just started following along and interviewing people and talking with people that became friends just out of curiosity, because, you know, that's a lot of my background with being first generation Canadian and growing up in a huge Greek diaspora in Toronto and speaking Greek and going back to Greece multiple times and this idea of kind of being Canadian, but really home is in Europe and Greece, even though I've never lived there.So, there's a lot there, personal interest and eventually against my supervisor's advice, I was like, this might be an interesting [00:22:00] conversation to put these two groups together, these people who are spending their weekends summiting mountains in the Highlands and then these other people coming from Canada and the US and New Zealand and Australia who are going to the same mountains to connect with their ancestral, you know, lands and and people. And these two groups are probably the two biggest sources of tourism, like, in the Highlands, which is fascinating. Wow. Except that the one group, the Hillwalkers tend to imagine that they're in a pristine wilderness and that there's never been anybody there. And the homecomers like to imagine that the hills used to be covered in villages and their own people that were there for thousands of years and that they're reconnecting.So it's interesting how the same landscape is both imagined as being repopulated and also emptied. And that both groups are kind of searching again for this kind of belonging, right? This belonging through freedom, for this belonging through ancestry. The other piece that gets, [00:23:00] well, you know, we're interviewing this, we're doing this interview November 21st and we're, I think most people these days are pretty aware of what's going on in Israel and Palestine and this idea of home because to have a homecoming means there has to be somewhere out there that you consider your home.And that's such a loaded, loaded, loaded concept, right? Like many wars are fought over this idea of who a land belongs to, right? I mean, I know you and I have talked about both our families being from the borderlands with Greece, Macedonia, Albania, and those borders just change over and over and where you belong to what is home keeps changing depending on which war has happened, which outcome and things like that.And I think for those of us, I'll say in the Americas, who don't have deep roots here this idea of home being somewhere else other than where you live, is a very complex prospect because certainly when I go to Greece, people don't recognize me as being home, you know, they, they consider me a Canadian tourist. And at the same time growing up in Canada, I certainly never felt [00:24:00] like, "Oh, Canada is like my ancestral home. You know, it's, it's skin deep. My parents came over in the sixties. Right." So this idea of homecoming and, you know, maybe we can just riff on this for a bit. Cause I know you've explored this a lot. It's like, is it tourism or is it something else? Because a lot of people in Scotland, including people I interviewed, just laugh at these Canadians who come over and just start crying, standing over some rocks in the Highlands and who will buy some shitty whiskey at a tourist shop and feel that they're connecting with their roots and buy bagpipes and by kilts and all this stuff, whereas like most Scottish people don't wear kilts and don't blow bagpipes and don't necessarily drink whiskey all day, so there's these kind of stereotypes that have often been just kind of produced by the media, but it's almost like, other than that, how do people actually connect with the homeland, right?Like, what does it even mean to connect with a homeland? And one thing that I found that I think is one of the most powerful things is the idea of walking. So [00:25:00] this is why the comparison and the contrast with hill walking and homecoming is most people, when you go back to your homeland, there's something really central about walking in the footsteps of your ancestors, right?So walking around in the same village, walking the same streets, going to the same house, maybe even if it's not there anymore, going to... I remember going to my mom's elementary school in the little village that she grew up in the mountains of Greece and walking down the same hallways with her, and we went to the auditorium, and she, showed me the little stage where she would literally be putting on little plays when they were, like, in third grade and there's something about standing and stepping in the same place that is so fundamental. And so I'm kind of looking at homecoming through these kind of memorial or commemorative practices of walking. So it's not just walking, but walking and activating a landscape or activating the memories that are kind of enfolded in a landscape. And I've come to believe and understand that walking is a kind of almost magic technology that I [00:26:00] almost see it as really like opening up portals to other times and other places when done in a ceremonial kind of ritualized manner.So a lot of my work again, as an animist and kind of being as far as I know, the first in my field was just cultural geography, to kind of bring an animist lens to the field and kind of look at how, doing ceremony on a mountain, going into these glands and doing ceremony is more than just the material kind of walking, but is actually kind of connecting with these memories and these people in these places.In a way that's, I think, deeper than tourism and that's maybe the distinction between tourism and let's say homecoming on the surface that you might actually be doing almost the same thing, but I think there is this kind of animist lens to understand homecoming through where you let's say you bring a stone from home or you take a stone and bring it back home you know, like these kinds of Ritualize little practices that we do to connect with the place that I don't think tourists do in the same way, [00:27:00] you know?Because in tourism, you're often just trying to get away from where you live and experience something different, where this is trying to reconnect with something that's been lost or something that's in the past. Chris: Yeah, definitely. This leads me into a lot of different directions, but one of them is this question of animism that I'd like to come back to in just a moment but before we do, I want to ask you about. These heritage trips sometimes they're referred to as within the tourism industry, homeland returns which in most cases is a paradox or an oxymoron because most people are not returning to the places that they either were born in or lived in.They, typically, like myself, had never actually been there before. I'll just pull a little quote from your dissertation because I think it precedes this question in a good way. You write that quote, "the commissioner of Sutherland advocated for a state administered program of colonization in the Scottish Highlands, similarly arguing that the [00:28:00] Gaelic race and its inferior temperament presented an obstacle to the onward march of civilization. Locke set out a vision for the colonization, displacement, and reeducation of Gaelic Highlanders, where eventually, quote, 'the children of those removed from the hills will lose all recollection of the habits and customs of their fathers.'Locke's vision has broadly come true," end quote. And so, within the context of the wider spectrum and calendars and geographies that we've kind of been discussing, but more specifically in the context of Scotland, I'm curious if the people that you met there, either locals or visitors and especially in the case of those coming for a homecoming or heritage trip had an understanding of these things, of this history.Christos: No, that's what I found out. [00:29:00] What I've found in my lifetime, cause this isn't the only kind of project around this kind of theme that I've done. Maybe we'll get, I did another project with Mexican friends going back to Spain and kind of repatriating or reconnecting back through the kind of the displacement of the Spanish civil war.But what I've found is those of us of the colonies, that's kind of what I consider myself in ourselves, like people of the colonies. I'm not sure if it's better or worse that we're the ones that hold on to the stories and the memories and the people back quote "home" or in the "homeland" for the large part have moved on and don't really give much thought to these histories of displacement.It's almost, oh my God, it was strange to be in this country where most of the place names in the Highlands are Gaelic, and 98 percent of Scottish citizens cannot read or understand Gaelic, so partly it was this strangeness of being in a country where only two out of every hundred people could even understand the names of the places where they lived, even [00:30:00] though they had never left there and their people had never left there.And you know, if you let that sink in, it's like, let's say you and I being of Greek descent, imagine if 90 percent of Greeks couldn't understand Greek, you know what I mean? And couldn't understand the name of their own village. And well, there's, here's another angle to this in Scotland.When you want to learn traditional Gaelic fiddle, you go to Cape Breton in Nova Scotia in Canada because that's where the Highlanders who immigrated to Nova Scotia in the past kept the tradition pure and kept fiddle playing what it had always been. Whereas, you know in Scotland now, they're into hip hop and trap and drum and bass and stuff like this.And so if you're Scottish and you've never left Scotland in order to connect with the music of your ancestors you have to go to Canada, so most people that I interviewed and I think this is fair, you know to assume of most people Don't [00:31:00] think much about the ethnic cleansing that went on whichever side that they were on And it's kind of left to us in the colonies either to also let it go and move on and try to settle into these new lands or you kind of keep holding on to this memory of a place you've actually never lived, you know, and it's almost like both propositions are grief soaked.Both are kind of almost an impossible poem to hold because obviously there were people here before our European ancestors came. Obviously, we don't have these deep roots or memories or connections to this place. We don't have ceremonies or songs or much that's derived from this land, at least not yet.And yet many of us lose the language and the ceremonies and the traditions of the places where our ancestors came. It's almost like at least we still know where we've come from. Whereas to be in Europe, or at least in Scotland, and to have never left, but to nevertheless have also lost the connection with [00:32:00] your own ancestors and your own language and those places it's almost like a parallel process where there are people that get on the boats and leave, but there are people that are left behind. But it's almost like, regardless whether you leave or whether you stay, the fabric of that culture just gets completely rendered and torn apart by that displacement. And somehow, even though you never leave having so many of your people leave actually kind of compromises the ability to stay where you are, and to be connected to where you are. ⌘ Chris Christou ⌘ is a reader-supported publication. To receive new posts and support my work, consider becoming a subscriber!I interviewed one woman who had an ancestor who in Scotland, they call like psychic abilities, the second sight.So the idea of having kind of psychic premonitions or all of a sudden knowing that like your brother has died, even though he's in Australia, you know, that kind of thing. That people had that when I lived in Scotland and when they moved to Canada, they actually lost that ability. You know, so it's this idea that it's not that you carry almost these knowledges or abilities just in you, but it's actually comes from the connection [00:33:00] to the place.And once that connection becomes severed, you lose those capacities. And I've actually never said this out loud, but I wonder how much the people that stayed behind actually lost because of all the people that left, if that made sense. It's almost like, how does a culture stay resilient when almost everyone between the ages of like 20 and 40 leaves and never comes back.I think you could consider that this is all just stuff to wonder about. But like, for those of us that come from these kind of like largely settler countries like Canada and the U. S, we're still living through these questions. We're still living through these implications of like, how long do you hold on to the past? And at what point do you just kind of let go and move forward? And If you do so, how do you move forward in a place that you don't have any roots?Chris: You know. I remember going to see, going to my father's village in northern Greece for the first time some eight years ago, and knowing that I had [00:34:00] one baba or grandmother left there, and after searching for a few hours, she was hard of hearing at the time, finally found her, finally found the house and shared a delicious meal and traded photographs.I had no Greek or Macedonian language ability at the time. And then I was I called a taxi later on some, you know, at the end of the day to go back to the city, to the hotel, and standing in her garden there, she began to weep, right, without having said anything, even with the language barrier, I could understand what she was saying, and she was, she was mourning the migration of my family or my side of the family, or my father's side of the family to Canada, and then, her son and his family to Germany.And so, there's this question of what comes upon the people that quote unquote "stay." that's so often lost in the discourses [00:35:00] around migration, kind of always focusing on the individual, the migrant themselves, or the places that they arrive in.But do we just let it go? And how do we do that? I have this other quote from your dissertation that lands really strangely in this moment, in this conversation and it has to do a little bit with the kind of what I think you refer to as a national geographic imaginary.And so this is the response of the people in Scotland, in the Highlands embedded and engaged and indebted to these hill walking and homecoming industries. And so in your dissertation, it's written that "in February of 2017, an uproar on all sides erupted when, in a rare sign of bipartisan solidarity, both Mountaineering Scotland and the Scottish Gamekeepers Association attempted to pressure the Scottish government to abandon a [00:36:00] proposal to increase woodland cover, trees, from 17 percent to 25%. by 2050. The commitment to plant 10, 000 extra hectares of trees between now and 2022 was made in the government's draft climate plan. The protesting organizations argued that there had not been enough consultation and consideration given to the changes to the highland landscape that would come about by this tree planting initiative.And they were voicing their concern on whether, quote, 'adequate weight is being given to the significant changes this will have on the landscape of Scotland, and in particular, the dramatic open views and vistas which have come to signify to the outside world that which is unique about our country.'" End quote.And so this seems to be, to some degree, and please correct me if I'm wrong, but a manner of contending [00:37:00] with that past in a way that is, you know, perhaps ignorant of it. Or that is perhaps also faithfully serving the needs, the economic needs of the people, of the place.Christos: There's a lot there. I'm, what's coming to me, do you know this quote? It's from ancient Rome. It's a bit convoluted, but this is a Roman text talking about the colonization of Britain, so of the Romans conquering the Gaelic people in the Picts, but it's In a speech written by this Roman historian that he's attributing to like the Gaelic king, basically. So it's not, this wasn't actually said by a Gaelic king, it's just a Roman kind of putting these words in his mouth to kind of create like a battle scene, but but a lot of people quote this and it's from the Gaelic perspective referring to the Romans saying "the Romans make a desert and call it peace."[00:38:00] And that's kind of what's happened in Scotland is the villages were cleansed, literally. You know, the houses were burned down and knocked down. The people were forcibly, sometimes violently, thrown out of their homes into the cold. Many of them just had no prospects to be able to stay and move to Glasgow.And many of them, you know, came to Toronto and Saskatchewan and North Carolina and all this. And so after they left, these highlands kind of became empty, like this vast emptiness. And then once the Victorian English came into that landscape and started painting it and writing Victorian poems about it, this aesthetic of this, treeless, vast expanse became kind of that National Geographic kind of aesthetic of the mountain peak and the colorful heather and then the loch or the lake, kind of [00:39:00] reflecting the mountain.You can just imagine the scene, right? Of like the mountain peak being reflected in inverse in the lake, you know, kind of thing. It's just that perfect kind of symmetrical perspective photograph or painting. And then that kind of became the symbol of freedom and tranquility which is basically like a site of ethnic cleansing becomes a symbol of beauty.And then what happens is you keep managing the landscape to maintain that aesthetic, which is why you find the strangeness of, like, environmental groups arguing that planting trees is ecological vandalism, that you're ruining the ecology of a place because your trees are gonna get away in the way of these vast expanses.So it's it's this weird wondering on, like, how certain aesthetics become symbolic of something. And then you manage the land, to maintain that aesthetic. Even though it's [00:40:00] absolute death for the wild, the wildlife and even the people in that landscape, to maintain it in that way. The thing that might not be obvious to most people which wasn't I didn't know about this whole world before I moved there, but Scotland's one of the few if not only place in all of Europe where you can still be a feudal lord like they call it a laird, l-a-i-r-d, but it's like a lord where all you need to do to be a lord is you just buy land and if you have enough land you're you claim title of Lord Wow.And most people that are lords in Scotland these days are not even British. You have people from Saudi Arabia, from all over that have bought up the highlands in many ways. And they have these estates and you know, Balmoral estate, which is like the Queens, or I guess she's dead now. Now it's King Charles's estate.And what you do is maybe once a year you and all your rich friends from all over the world fly in [00:41:00] and do this traditional game hunt where you might be hunting deer, but more often you're actually hunting wild birds. You know, so grouse especially. If anyone's seen, I find it fascinating watching Downton Abbey, that TV series, because it's kind of, it covers a lot of the kind of that, that time in Britain.And there's an episode or two where they go into the Scottish countryside to go, you know, go hunting. So it's this weird aesthetic where you dress up in a certain way, kind of like an old time Scottish lord, and you go out on the land with dogs and you shoot down birds, and in order for the birds to live there you need the landscape to basically be wide open, because that's actually what they prefer.And so, this is why, again, for the context of that quote, you have an environmental group, and basically, rich, elite gamekeepers working together to keep the government from planting trees in this landscape because it's in both their interest to maintain [00:42:00] this landscape as an ecological wasteland, essentially that people can't sustain themselves off of or people can't live in So you're kind of farming emptiness if that makes sense in a way you're like cultivating emptiness. Yeah. For tourism. Which again I mean, you've been talking to so many people about this subject. To me, it's fascinating what tourism can be or what it can mean, you know, or like what need is trying to be fulfilled in these, in these landscapes that often get kind of territorialized as touristic, you know, because most people, when they travel, they don't go to walk around the suburbs of a city. There's only certain places that tourists are drawn to, right? Hmm. And so I'm always curious about why and what tourists are drawn to, you know, what is like almost like the resource there that is being extracted. In Chris: the context of your work, you know, largely in regards to, to landscapes and we've spoken a fair amount today about [00:43:00] landscapes as, as objects at the very least.But in, in your dissertation, you know, there was a line that struck me certainly I think coming from your animist tendencies and sentiments where you say that "landscapes are mediums and landscapes are a process," and I'm curious, as we kind of wind ourselves towards the end of our time together, if you could elaborate on this for our listeners a little bit, this, this idea of landscapes as mediums or as processes.Christos: Yeah, so I've done my, my PhD in the field of cultural geography, or sometimes called human geography, which is kind of like anthropology except kind of rooted in place, I'd say that's the big difference. It's not as popular here in North America, but in the UK it's much more popular. And probably the primary focus in that field is landscape, which I think most people might be familiar with that term in terms of like, maybe landscape [00:44:00] gardening or landscape painting.But when you get deep into it, which is kind of what grad school is, is you're like a big weirdo and you just get so deep into something so friggin specific that, you know, most people think you might think about once in your lifetime, but you end up spending nine years thinking about and writing about.It's almost like you can't perceive a place without some kind of filter, if that makes sense. It's almost like there's no such thing as just like a place or land that's just objectively out there. Like, I spent most of a winter, you know, down where you are in Oaxaca, but you having lived there for this long, like if you and I walk around in the streets of Ciudad Oaxaca, you're going to perceive so much more than I am, or at least many different things than I am, right?I'm going to be purely a tourist, I'm going to be reading on a surface level where you might have dozens of memories come up from your time living there and different things that have happened. And [00:45:00] so, in that way, like a landscape is almost, is always like a medium, meaning like our own perceptions, our own projections, our own memories are always affecting the way that we perceive a place.And so cultural geography, the field that I'm in, kind of looks at that. It looks, literally at the kind of the, the collision of culture and geography and like the politics of a place. You know, I was talking about like earlier about landscape management. You know, there are people that are choosing how to manage the landscape in the highlands, where to allocate money and where to cut money from.And all of those decisions are based on preferences of aesthetics and land use, in terms of landscape. So for anyone that's interested, it's a fascinating field to start looking at what we perceive in a place or in places [00:46:00] and how, what we perceive or what we wish to be there affects, you know, the politics of a place.And again, the contemporary crisis right now, Israel Palestine, this question of like, who belongs there? Whose land is it? What do you see in that landscape? For some people, they see an ancient Jewish homeland that these persecuted people are trying to return to and reclaim and for other people, they see, you know, an indigenous Arab people that are being displaced by outside colonizers and, you know, both in their way are right and wrong.I'm not going to wade into the politics of it, but the way that landscape is used as a medium, politically, economically, culturally, is a really fascinating subject, at least for me.Chris: Well, thank you for that, and to finish up with a question around pilgrimage, which Jerusalem being the quote unquote, "holy land" and where so many pilgrimages landed in in previous times and of course in contemporary ones as [00:47:00] well. I'm curious about what you could describe as ritualized memorial acts of walking. And I'd like to finish by asking what have been the most achieved and enduring acts of ritual that you've encountered? What lessons might they have to teach us in a time of hypermobility?Christos: Again, that's like a huge question. Okay, I'll try to be succinct if I can. I don't know why I'm drawn to these kinds of histories, but anywhere I go in the world, I tend to be drawn to, yeah, histories of displacement, I would say.It's a strange thing to be interested in for most people, but it probably speaks to the fact that I am the fourth generation of men to leave the country that I was born. You know, that's between both sides of the family, it's not all one lineage. But being of Greek descent, Greece has long been a country where people leave, you know?Like, right now, the [00:48:00] United States is a country where people come to, but to be claimed by a place where for hundreds of years now, so many people, whether by choice or circumstance, leave their home probably does something to you, you know? And so Anywhere I've traveled in the world, I tend to either seek out or be sought out by these kinds of histories, and so I referred a bit earlier to this project I did years ago where I was spending a lot of time in Mexico and ended up meeting what became a friend is an artist from Mexico City, Javier Arellán, and he was second generation Mexican.His grandfather was from Barcelona in Spain and was a fighter pilot for the Spanish Republic, so like the legitimate democratically elected government of Spain. And when Franco and the fascists kind of staged a coup and the Spanish Civil War broke out you know, he was on the side [00:49:00] of the government, the Republican army.And Barcelona was basically the last stand of the Republicans as the fascist kind of came up from the from the south and when Barcelona fell everyone that could literally just fled on foot to try to cross into France, nearby to try to escape, because knowing that if they were captured they would be imprisoned or killed by the fascists who had basically taken over the country now.But the French didn't want tens of thousands of socialists pouring into their country because they were right wing. And so rather than letting people escape they actually put all the Spanish refugees in concentration camps on the French border. And that's where my friend's grandfather was interred for like six months in a place called Argilet sur Mer, just over the French border.And then from there, Algeria took a bunch of refugees and he was sent to Algeria. And then from there, the only countries in the whole world that would [00:50:00] accept these left wing Spanish refugees was Mexico and Russia. And so about 50, 000 Spanish Republican refugees relocated to Mexico City. They had a huge influence on Mexican culture.They started UNAM, like the national university in Mexico City. And my friend Javier Grew up in Mexico city, going to a Spanish Republican elementary school, singing the Spanish Republican National Anthem and considering themselves Spaniards, you know, who happened to be living in Mexico. And so when I met him, with my interests, we, you know, overlapped and I found out that him and his wife were soon setting out to go back to that same beach in France where his grandfather was interred, in the concentration camp and then to walk from there back to Barcelona because his grandfather had died in Mexico before Franco died, so he never got to return home. You know, maybe like a lot of Greeks that left and [00:51:00] never did get to go back home, certainly never moved back home.And so we went to France and we started on this beach, which is a really kind of trashy touristy kind of beach, today. And we thought you know, that's what it is today, but we then found out talking to people that that's actually what it was back in the 1930s, 1940s was this touristy beach and what the French did was literally put a fence around and put these refugees on the beach in the middle of like a tourism beach literally as prisoners while people on the fence were like swimming and eating ice cream and, you know, and being on vacation.So even that site itself is pretty fucked up. A lot of people died there on that beach. And it was 15 days walking the entire coast from the French border back to Barcelona. And whereas Javier's community in Mexico city actually raised [00:52:00] funds for us and we're really excited about this idea of homecoming and going back home to Spain.We quickly discovered when we started talking to locals about what we were doing, they would stop talking to us and walk away and they didn't want anything to do with us. They did not want to know these histories. They didn't want to touch it. And what we found out is like Spain has never really dealt with this history.And it's such a trauma and nobody wants to talk about it. So again, it's this strange thing where it's like us from the Americas, you know, my friend from Mexico was wanting to return home and it was a strange trip for him because he thought of himself as a Spaniard returning home and these Spaniards were like, "you're a Mexican tourist and I don't want to talk to you about the civil war, you know?"And I think that really hurt him in a lot of ways because he almost kept trying to prove that he wasn't a tourist, whereas for me, I knew that I was a tourist because, you know, I have no history there.[00:53:00] In terms of pilgrimage, I've done other pilgrimages, other walks I won't get into now, but there's something about walking a landscape or walking a land as opposed to driving, obviously, or flying that the pace of walking, I think, allows you to interact with people and with places at a rhythm that is maybe more organic, maybe more holistic. I did do the Camino de Santiago, the pilgrimage in Spain, like I did that another 15 days as well. And for me there's nothing like walking. You know, there's, there's something that happens. To your mind, to your body, to your spirit when you're moving that I've never experienced through any kind of other travel.And unfortunately there are only so many places in the world where you can walk for days or weeks on end that have the infrastructure set up to do so. And I know that here in the Americas other than walking on busy roads, it's pretty hard to get long distances through walking.And so I think another thing that tourism has done is kind of cut off the transitional kind of walking and you just kind of fly off and just kind of plop yourself [00:54:00] down and then get extracted out through an airplane, but you don't have the experience of seeing the landscape change day by day, footstep by footstep, and experiencing the place at that speed, at that pace, which is, you know, a very slow pace compared to an airplane, obviously.Chris: Mm hmm. Perhaps, perhaps very needed in our time. Christos: I hope so. I think there's something about it. I think there's something humanizing about it. About walking. Chris: Well, I've asked a lot of you today, my friend. And we've managed to court and conjure all of the questions that I've, that I had prepared for you.Which I thought was impossible. So, on behalf of our listeners and perhaps all those who might come to this in some way, your dissertation at some point down the road, I'd like to thank you for your time and certainly your dedication.And I imagine a PhD, nine year PhD [00:55:00] research process can be extremely grueling. That said, I imagine it's not the only thing that you have on your plate. I know that you're also an artist a teacher, writer, and Kairotic facilitator. I'm saying that right. To finish off, maybe you'd be willing to share a little bit of what that entails and how our listeners might be able to get in touch and follow your work.Christos: Yeah, first I'll just say thanks for reaching out, Chris, and inviting me to do this. I've listened to your podcast and love these kinds of conversations around these topics of place and belonging. It's obviously deep in my heart and I said this to you earlier, other than my supervisors and my examiners, I think you're the first person to read my dissertation, so I appreciate that you took the time to read it and to draw quotes and to discuss it with me because, I think most people that have done a PhD know that it can be a pretty solitary process to go so deep into such a tiny little corner of like knowledge that for most people is not what they're interested in every day and to [00:56:00] share these stories. Thank you. So yeah, my website is ChristosGolanis. com. And part of what I do is working with this Greek term, kairos. So in Greek there are at least three words for time. One is chronos, which is like linear time. One is aeon, which is like kind of eternal time.And one is kairos, gets translated as kairos, which is like almost the appropriate time or ceremonial time. And my best definition of that is you know, there are some things that are scheduled, like you and I for months ago planned this particular time and this particular day to do this interview.But deciding, let's say, when to get married with your partner doesn't follow any kind of rational, linear timeline. That's more of a feeling. And so the feeling of like when some, when it's appropriate for something is what Greeks consider to be keros, like, you know, keros for something like it's, it's the appropriate time for something.So. What I do is I kind of counsel people to craft [00:57:00] ceremonies or rituals for big transitions in their lives to mark things in their life through ritual or ceremony. Like I said, for like a homecoming two weeks of walking the coast of Spain can be a ceremony, right, of kind of walking your dead grandfather back home. I think there's something about the impulse to go out into the world, to find something, to integrate something, to process something, right versus staying right where you are and kind of with community, with others. It's kind of ritually marking it, integrating it, and you know, it's cheaper, it's easier on the environment, and sometimes can, can go a lot deeper than going away and coming back, and maybe not much has changed.But it can be dealing with the transition of someone from life into death or a birth or a career change. And so basically using ceremony and ritual to really mark and integrate these significant moments in our lives so that we can be fully with them as they're happening or as they've happened in the past, but haven't been able to be integrated.So that's some of the kind of [00:58:00] work that people can do with me if you want to reach out through my website. Chris: Well I very much look forward to seeing and hearing your dissertation in the world outside of these small groups of podcast interviewers and academics. So, hopefully one day that's the case if there's any editors or publishers out there who enjoyed what you heard today and want to, want to hear more, please get in touch with me or Christos and we can, we can get that into the world in a good way.Christos, thank you so much brother. It's been a pleasure and I hope to have you on the pod again soon. Christos: All right. Thank you. Get full access to ⌘ Chris Christou ⌘ at chrischristou.substack.com/subscribe

Tim Ingold se aleja de la teorización académica post-androcéntrica y posthumanista para pasar a la acción, pues el autor argumenta que, en toda construcción teórica, irremediablemente y a pesar de las buenas intenciones, el ser humano sigue estando en el centro de toda consideración. En Correspondencias, Ingold presenta el planeta como protagonista, como un todo interrelacionado, sin fisuras ni fronteras. Y, como ya demostró en obras precedentes como Líneas, sus amplios conocimientos sobre múltiples disciplinas le permiten tejer esta oda a la naturaleza a través del arte, las leyes de la física o episodios de la historia de la humanidad, entre muchas otras referencias.

En medio de la coyuntura argentina y rodeado por la riqueza del patrimonio arqueológico existente en el hermoso pueblito de CACHI, provincia de SALTA, me sumergí en un viaje introspectivo. La visita a este enclave me llevó a cuestionar las nociones convencionales y a recordar la sabia observación de Tim Ingold: "Ninguna forma de ser es la única posible". Al explorar la región norte de Argentina, en proximidad a vestigios de antiguas formas de organización social, política y económica, me encontré con un recordatorio tangible de la diversidad de caminos que la humanidad ha transitado a lo largo de la historia. Este contexto me llevó a analizar críticamente la prevalencia del liberalismo como única solución para los desafíos de los países en desarrollo. ¿Es el liberalismo la única respuesta posible, o deberíamos explorar y aprender de las diversas estructuras que han existido en nuestra historia? Este video no solo documenta mi experiencia en Cachi sino que también invita a la audiencia a reflexionar sobre las alternativas posibles a las narrativas contemporáneas, desafiando la noción de que una única ideología pueda abordar adecuadamente la complejidad de los problemas actuales. Telegram: https://t.me/biografiamutante https://instagram.com/biografiamutante https://twitter.com/soyunabiografia https://www.tiktok.com/@biografiamutante https://medium.com/@biografiamutante Facebook: http://bit.ly/FbFdeF Escucha mi MÚSICA

Send us a Text Message.This is a special summary episode with reflection points from 2023 to take forward into the year ahead. The episode pulls together one key idea from each conversation, accompanied by some thoughts on why I found it particularly helpful and interesting. In this episode you will hear extracts from Oliver Burkeman, Anna Lembke, Lisa Miller, Tim Ingold, Will Storr, Helena Norberg Hodge, Sir Terry Waite, and Madeleine Bunting. Each of these people has a perspective which is worth attending to - one which might hopefully be a positive influence for the year ahead.

This episode presents an adaptation of Tim Ingold's essay, "When Ant Meets Spider" as it appears in "Being Alive: Essays on Movement, Knowledge, and Description (2011)." https://www.amazon.com/Being-Alive-Tim-Ingold/dp/1032052317/ref=sr_1_1?crid=1V3DM9TCWCMPS&keywords=ingold+being+alive&qid=1688951629&sprefix=ingold+being+alive%2Caps%2C123&sr=8-1 Sound Design and Production by Matt Baker

Portland, OR-based multimedia artist William Selman returns to Mysteries of the Deep with his third album for the label. Drawing on influences such as David Toop, Beatriz Ferreyra, Elizabeth Waldo, and David Behrman, “The Weather Indoors” melds live and synthesized instrumentation, field recordings, and digital processing techniques in a new, more melodic and approachable direction. Immersive site recordings open into melodic woodwinds, orchestral instrumentation, bass guitar, gongs, and vibraphone. Borrowing from the anthropologist Tim Ingold's concept of “inversion,” this widescreen staging cuts immediately to the core of the project: the way human beings use the faculty of imagination to aestheticize their built surroundings with architecture, images of distant locales, and domesticated flora and fauna to contain the anxiety for the natural world that surrounds human life. A clear peak in Selman's extensive catalog, “The Weather Indoors” captures his work at a moment expanding his musical and aesthetic project: Neither genre ambient nor musique concrète, but a unique sound world dense with conceptual play and moments of more traditional harmonic beauty. “We are contaminated by our encounters: they change who we are as we make way for others. As contamination changes world-making projects, mutual worlds—and new directions—may emerge. Everyone carries a history of contamination; purity is not an option.” —Anne Lowenhaupt-Tsing, The Mushroom at the End of the World Releases May 19, 2023 Written, produced, and recorded by William Selman Mastered by Rafael Anton Irisarri at Black Knoll Studio NY Dolby Atmos Mixes by Matthew Patterson Curry Photography, Video Direction, and Words by William Selman Design by Gabriel Benzur Editing by Chris Zaldua Worldwide Distribution: Space Cadets © Mysteries of the Deep MOTDLP016, 2023 mysteriesofthedeep.net

« Une ligne, c'est un point parti en promenade » Paul Klee. De tous temps, par la marche, l'écriture, le dessin et le tissage, les êtres ont tracé des lignes. Créé in situ dans les structures petite enfance, au contact des enfants et de leurs espaces du quotidien, Dans les grandes lignes accompagne les tout-petits dans la construction de leur rapport aux autres et au monde. Inspirée par les textes de Tim Ingold, la compagnie propose un spectacle mêlant musique, mouvement et manipulation de matières, et nous invite à parcourir ces fils, traits, traces et sillons qui dessinent autant de façons de penser, d'habiter et de se relier. Retrouvez le programme complet du festival 2023 en cliquant ici.  Podcast réalisé par Véronique Soulé dans le cadre du festival Un neuf trois Soleil !  Véronique est membre de l'association et animatrice de l'émission de radio "Ecoute ! Il y a un éléphant dans le jardin". Cliquez ici pour en savoir plus.

Send us a Text Message.Tim Ingold is a professor of Social Anthropology at the University of Aberdeen. He is a fellow of the British Academy and the Royal Society of Edinburgh, and is one of the most influential anthropologists in the field today. This conversation explores the way we have come to think about the passage of human generations, and why there is a need to think differently in order to live sustainably.

Peter speaks to the ecological anthropologist Tim Ingold. During their in-depth discussion, they consider the nature of human-animal relationships and ecologies of perception. Meanwhile, they break down the false dichotomy between culture and nature, and consider the natural environment as the meeting place between earth and sky. With a distinguished career spanning over five decades, Tim is the author of 14 books and numerous articles. While he is known for his extensive research on the nature of landscape perception and the phenomenon of human-animal relationships, he has also written on artistic practises and has suggested ways of rethinking architecture, including how we might come to inhabit landscapes again. After graduating from the University of Cambridge in 1970, he spent 16 months with Sámi reindeer communities in northeast Finland. Following a year teaching at the University of Helsinki, in 1974 Tim became a lecturer in Social Anthropology at the University of Manchester. In 1999 Tim moved to the University of Aberdeen to assume the newly established Chair of Social Anthropology. As well as being a fellow of both the British Academy and the Royal Society of Edinburgh, he holds an Honourary Doctorate in Social Science and Art from the University of Lapland in Rovaniemi, Finland. https://www.timingold.com/Join the conversation on Patreon: https://www.patreon.com/thelandbehind

Today we are continuing our discussion of ‘power words', terms that humans use to control the narratives of otherthanhuman lives. Today's term is ‘feral', and it is a contentious term, in our opinion. Our paper on this topic ‘Uncivilised Behaviors' was published last year in Society and Animals journal, and today we will unpack that paper in a discussion with our special guest and coauthor, Debbie Busby. Please subscribe to get notified about our next podcast! Follow us on Twitter: @TheAnthrozoopod Follow us on Facebook: https://www.facebook.com/anthrozoopod/ Follow us on TikTok @anthrozoology_ To access audio-only versions please our official Website: https://anthrozoopod.wixsite.com/anthrozoopod Podcrew: Dr. Kris Hill PhD Candidate, University of Exeter kh458@exeter.ac.uk https://katzenlife.wordpress.com/ Dr. Michelle Szydlowski ms835@exeter.ac.uk www.internationalelephants.org @intl_elephants Sarah Oxley Heaney PhD Student, University of Exeter sh750@exeter.ac.uk ​www.kissingsharks.com/ Podlet Guest: Debbie Busby Registered Clinical Animal Behaviourist for Horses and Dogs PhD Candidate, Manchester Metropolitan University deborah.busby@stu.mmu.ac.uk https://evolutionequine.wordpress.com/ References and Resources Merrian-Webster Dictionary Definition of “Feral” https://www.merriam-webster.com/dictionary/feral#:~:text=%3A%20of%2C%20relating%20to%2C%20or,not%20domesticated%20or%20cultivated%20%3A%20wild Hill, K. Szydlowski, M. Oxley Heaney, S. Busby, D. (2022). Uncivilized behaviors: how humans wield “feral” to assert power (and control) over other species. Society & Animals. Online ahead of print. https://doi.org/10.1163/15685306-bja10088 Hill, K. (2022). Feral and out of control: a moral panic over free-roaming cats? in Anthrozoology Studies: Animal Life and Human Culture, edited by I. Frasin, G. Bodi, S. Bulei, C. D. Vasiliu. Romania: Presa Universitară Clujeană. pp. 123-157. http://www.editura.ubbcluj.ro/bd/ebooks/pdf/3343.pdf Ingold, T. (2000). “From trust to domination: an alternative history of human-animal relations.” In The Perception of the Environment: Essays in Livelihood, Dwelling and Skill. Edited by Tim Ingold. London, New York: Routledge. Mica, A. (2010). Moral Panic, Risk or Hazard Society — the Relevance of a Theoretical Model and Framings of " Maidan " Dogs in Chişinău and Bucharest. Sociological Review, 169, 41–56. Pauwels, A. (2003). Linguistic Sexism and Feminist Linguistic Activism. In J. Holmes & M. Meyerhoff (Eds.), The Handbook of Language and Gender (pp. 550–570). https://doi.org/10.1002/9780470756942.ch24 Price, E. O. (2003). Animal Domestication and Behavior. Oxford, UK: Oxford University Press. Szydlowski, M., Hill, K., Oxley Heaney, S., Hooper, J. (2022). Domestication and domination: human terminology as a tool for controlling otherthanhuman animal bodies. TRACE: Journal for Human-Animal Studies. 8(1). https://doi.org/10.23984/fjhas.110388

Vi lever i dag i en verden, hvor vi tilbringer over 90 procent af vores tid indendørs. Skærmet fra naturen, som vi så alligevel prøver at genetablere indenfor med planter, pools og panoramavinduer. Mens vores forhold til og væren i naturen bliver... (man fristes til at sige) unaturlig. "For verden kan kun eksistere som natur, for et væsen der ikke hører til i den", som den britiske antropolog Tim Ingold skrev i 2011. Medvirkende: Cecilie Rubow antropolog, Lektor ved Institut for antropologi, Københavns Universitet. Aksel Haaning, Lektor i Global og Transnational Historie og Videnskabsstudier ved RUC. Tilrettelægger og vært: Carsten Ortmann. (Sendt første gang 13. marts).

durée : 00:58:30 - LSD, la série documentaire - par : Perrine Kervran - Visite de l'exposition Gribouillage à la Villa Médicis avec les commissaires d'exposition, décryptage des lignes autour de nous avec Tim Ingold, évocation des courbes des rochers du Finistère avec Emma Garnaud et séance de street art sur un trottoir à la craie avec Jordan Saget et ses lignes.

We are talking with Daniel Fernández Pascual from the London-based duo Cooking Sections. Together with Alon Schwabe, they use food as a lens and a tool to observe landscapes in transformation. In a broader sense, they examine the systems that organize the world, through food.Their output manifest in a variety of media: using site-responsive installations, performance, and video. Cooking Sections offer a mode of cultural production that navigates the overlapping boundaries between art, architecture, ecology, and geopolitics.EPISODE NOTESTThis episode includes additional questions by Sarp Renk Özer & Jing Yi.Find more about Cooking Sections from https://www.cooking-sections.com/CLIMAVORE is a long-term project that sets out to envision seasons of food production and consumption that react to man-induced climatic events and landscape alterations.For hundreds of years, the wetlands north of Istanbul have been home to water Buffalo. Wallowland (Çamuralem) presents the outcomes of a series of metabolic surveys conducted at different times of the year. Buffalo kaymak, yoghurt, and sütlaç made from local producers are offered as tastings accompanied by field recordings and Buffalo songs aiming to enhance a cultural landscape on the verge of extinction. https://bienal.iksv.org/en/17b-artists/cooking-sections https://saltonline.org/en/2317/climavore-seasons-made-to-drift?q=cooking+sect%C4%B1ons The First Geography Congress (Turkish: Birinci Türk Coğrafya Kongresi), which was held in Ankara in 1941, separated Turkey into seven geographical regions, which are still used today. https://en.wikipedia.org/wiki/First_Geography_Congress,_TurkeySalmon: A Red Herring was first exhibited at Art Now, Tate Britain. As part of the project, Tate removed farmed salmon from its menus across all four Tate sites and introduced CLIMAVORE dishes instead.Set on the intertidal zone/seal-mara at Bayfield, CLIMAVORE: On Tidal Zones explores the environmental impact of intensive salmon aquaculture and reacts to the changing shores of Portree, Isle of Skye. Eyal Weizman is the director of the research agency Forensic Architecture at Goldsmiths, University of London where he is Professor of Spatial and Visual Cultures and a founding director there of the Centre for Research Architecture at the department of Visual Cultures. https://forensic-architecture.org/Tim Ingold is an anthropologist https://en.wikipedia.org/wiki/Tim_Ingold Lüfer Koruma Timi was a campaign to protect the bluefish of the Bosphorus, urging fisher people, restaurants, and the consumers to not fish, sell, or buy younger fish, until the fish reaches its proper growth to reproduce. https://www.yesilist.com/tag/lufer-koruma-timi/The Lionfish is an invasive marine species. https://www.wri.org/research/reefs-risk-revisited/atlantic-and-caribbean-lionfish-invasion-threatens-reefs#:~:text=With%20venomous%20spines%2C%20lionfish%20have,of%20fish%20in%20the%20region.This season of Ahali Conversations is supported by the Graham Foundation for Advanced Studies in the Fine Arts. The Graham provides project-based grants to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. This episode was also supported by a Moon & Stars Project Grant from the American Turkish Society.This episode was recorded on Zoom on August 25th, 2021. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.

En "La vida de las líneas" Ingold desarrolla una antropología filosófica y ecológica que es a la vez amplia e integradora, en continuación a su primer libro "Líneas, Una breve historia". De profunda relación con nuestro hacer creativo como arquitectos y creadores de lugares para la vida.

Ambientes para la vida - Conversaciones sobre humanidad, conocimiento y antropología Este libro compila las conferencias y conversaciones del antropólogo británico Tim Ingold durante su visita académica a Uruguay en octubre de 2011, como parte de una gira por universidades de Brasil y Uruguay. El recorrido lo llevó por Brasilia, Belo Horizonte, Porto Alegre, Maldonado Montevideo, así como por las tierras bajas de Rocha, compartiendo ideas y visiones sobre la cuestión ambiental, evolución, percepción y conocimiento y las prácticas de los humanos y no humanos en el mundo. Para esto hubo una coordinación regional y complementación de recursos entre la Universidad de Brasilia, la Universidad Federal de Minas Gerais, la Universidad Federal de Rio Grande do Sul y la Universidad de la República de Uruguay.

Ambientes para la vida - Conversaciones sobre humanidad, conocimiento y antropología Este libro compila las conferencias y conversaciones del antropólogo británico Tim Ingold durante su visita académica a Uruguay en octubre de 2011, como parte de una gira por universidades de Brasil y Uruguay. El recorrido lo llevó por Brasilia, Belo Horizonte, Porto Alegre, Maldonado Montevideo, así como por las tierras bajas de Rocha, compartiendo ideas y visiones sobre la cuestión ambiental, evolución, percepción y conocimiento y las prácticas de los humanos y no humanos en el mundo. Para esto hubo una coordinación regional y complementación de recursos entre la Universidad de Brasilia, la Universidad Federal de Minas Gerais, la Universidad Federal de Rio Grande do Sul y la Universidad de la República de Uruguay.

Ambientes para la vida - Conversaciones sobre humanidad, conocimiento y antropología Este libro compila las conferencias y conversaciones del antropólogo británico Tim Ingold durante su visita académica a Uruguay en octubre de 2011, como parte de una gira por universidades de Brasil y Uruguay. El recorrido lo llevó por Brasilia, Belo Horizonte, Porto Alegre, Maldonado Montevideo, así como por las tierras bajas de Rocha, compartiendo ideas y visiones sobre la cuestión ambiental, evolución, percepción y conocimiento y las prácticas de los humanos y no humanos en el mundo. Para esto hubo una coordinación regional y complementación de recursos entre la Universidad de Brasilia, la Universidad Federal de Minas Gerais, la Universidad Federal de Rio Grande do Sul y la Universidad de la República de Uruguay.

Ambientes para la vida - Conversaciones sobre humanidad, conocimiento y antropología Este libro compila las conferencias y conversaciones del antropólogo británico Tim Ingold durante su visita académica a Uruguay en octubre de 2011, como parte de una gira por universidades de Brasil y Uruguay. El recorrido lo llevó por Brasilia, Belo Horizonte, Porto Alegre, Maldonado Montevideo, así como por las tierras bajas de Rocha, compartiendo ideas y visiones sobre la cuestión ambiental, evolución, percepción y conocimiento y las prácticas de los humanos y no humanos en el mundo. Para esto hubo una coordinación regional y complementación de recursos entre la Universidad de Brasilia, la Universidad Federal de Minas Gerais, la Universidad Federal de Rio Grande do Sul y la Universidad de la República de Uruguay.

Ambientes para la vida - Conversaciones sobre humanidad, conocimiento y antropología Este libro compila las conferencias y conversaciones del antropólogo británico Tim Ingold durante su visita académica a Uruguay en octubre de 2011, como parte de una gira por universidades de Brasil y Uruguay. El recorrido lo llevó por Brasilia, Belo Horizonte, Porto Alegre, Maldonado Montevideo, así como por las tierras bajas de Rocha, compartiendo ideas y visiones sobre la cuestión ambiental, evolución, percepción y conocimiento y las prácticas de los humanos y no humanos en el mundo. Para esto hubo una coordinación regional y complementación de recursos entre la Universidad de Brasilia, la Universidad Federal de Minas Gerais, la Universidad Federal de Rio Grande do Sul y la Universidad de la República de Uruguay.

Ambientes para la vida - Conversaciones sobre humanidad, conocimiento y antropología Este libro compila las conferencias y conversaciones del antropólogo británico Tim Ingold durante su visita académica a Uruguay en octubre de 2011, como parte de una gira por universidades de Brasil y Uruguay. El recorrido lo llevó por Brasilia, Belo Horizonte, Porto Alegre, Maldonado Montevideo, así como por las tierras bajas de Rocha, compartiendo ideas y visiones sobre la cuestión ambiental, evolución, percepción y conocimiento y las prácticas de los humanos y no humanos en el mundo. Para esto hubo una coordinación regional y complementación de recursos entre la Universidad de Brasilia, la Universidad Federal de Minas Gerais, la Universidad Federal de Rio Grande do Sul y la Universidad de la República de Uruguay.

Ambientes para la vida - Conversaciones sobre humanidad, conocimiento y antropología Este libro compila las conferencias y conversaciones del antropólogo británico Tim Ingold durante su visita académica a Uruguay en octubre de 2011, como parte de una gira por universidades de Brasil y Uruguay. El recorrido lo llevó por Brasilia, Belo Horizonte, Porto Alegre, Maldonado Montevideo, así como por las tierras bajas de Rocha, compartiendo ideas y visiones sobre la cuestión ambiental, evolución, percepción y conocimiento y las prácticas de los humanos y no humanos en el mundo. Para esto hubo una coordinación regional y complementación de recursos entre la Universidad de Brasilia, la Universidad Federal de Minas Gerais, la Universidad Federal de Rio Grande do Sul y la Universidad de la República de Uruguay.

Ambientes para la vida - Conversaciones sobre humanidad, conocimiento y antropología Este libro compila las conferencias y conversaciones del antropólogo británico Tim Ingold durante su visita académica a Uruguay en octubre de 2011, como parte de una gira por universidades de Brasil y Uruguay. El recorrido lo llevó por Brasilia, Belo Horizonte, Porto Alegre, Maldonado Montevideo, así como por las tierras bajas de Rocha, compartiendo ideas y visiones sobre la cuestión ambiental, evolución, percepción y conocimiento y las prácticas de los humanos y no humanos en el mundo. Para esto hubo una coordinación regional y complementación de recursos entre la Universidad de Brasilia, la Universidad Federal de Minas Gerais, la Universidad Federal de Rio Grande do Sul y la Universidad de la República de Uruguay.

Ambientes para la vida - Conversaciones sobre humanidad, conocimiento y antropología Este libro compila las conferencias y conversaciones del antropólogo británico Tim Ingold durante su visita académica a Uruguay en octubre de 2011, como parte de una gira por universidades de Brasil y Uruguay. El recorrido lo llevó por Brasilia, Belo Horizonte, Porto Alegre, Maldonado Montevideo, así como por las tierras bajas de Rocha, compartiendo ideas y visiones sobre la cuestión ambiental, evolución, percepción y conocimiento y las prácticas de los humanos y no humanos en el mundo. Para esto hubo una coordinación regional y complementación de recursos entre la Universidad de Brasilia, la Universidad Federal de Minas Gerais, la Universidad Federal de Rio Grande do Sul y la Universidad de la República de Uruguay.

There is more to education than teaching and learning! Says Tim Ingold, a British Anthropologist, and now Emeritus Professor and the University of Aberdeen. In his book "Anthropology and/as Education", Tim Ingold argues that both anthropology and education are ways of studying, and of leading life, with others. Education, he contends, is not the transmission of authorised knowledge from one generation to the next but a way of attending to things, opening up paths of growth and discovery. What does this mean for the ways we think about study and the school, teaching and learning, and the freedoms they exemplify? And how does it bear on the practices of participation and observation, on ways of study in the field and in the school, on art and science, research and teaching, and the university? Enjoy this episode! Links: For the anthropologically-minded, have a listen to Tim's engaging YouTube lectures: https://www.youtube.com/results?search_query=tim+ingold+education And here is 'Punk' Tim playing Beethoven on his gestural cello: https://youtu.be/1NEwABxLAJY --- Send in a voice message: https://anchor.fm/roger-kerry/message

In the home stretch of this holiday season, wildlife veterinarian Jerry Haigh, author of Reindeer Reflections: Lessons from an Ancient Culture, sits down with you for a one-of-a-kind romp through the reindeer lore and science. Reindeer are sure to put you in the mood for peace on Earth. Get to know these stunningly gorgeous and supremely gentle creatures, find out when and why to call them "caribou," and learn how spellbinding their lives are under the northern lights. Included in the Show Notes, below and on the This Animal Life website, you'll find many links to videos that will further immerse you in their beauty and wonder.  Jerry Haigh is a cross between James Herriot and Farley Mowat, a wry and compassionate veterinarian who's ventured far from his native Scotland to travel four continents, all to bring health and healing to animals, both wild and domestic. He's written books about everything from porcupines to rhinos, but his latest book finds him tending to the reindeer of Finland and Mongolia.  So strap on your snowshoes and tromp along as Jerry regales you with mind-blowing facts about reindeer. For example what, if anything, is so special about Rudolph's nose? Discover the stunning truth about this supremely peaceful animal.   SHOW NOTES: Adopt a Reindeer Foundation Cairngorm Reindeer Herd on Facebook Cairngorm Reindeer Herd: Home  The Cairngorm Reindeer Herd is Britain's only free-ranging herd of reindeer found in the Cairngorm mountains in Scotland. These tame and friendly animals are a joy to all who come and see them. Reindeer are not just for Christmas! “Caribou (Reindeer),” National Geographic. “Follow Thousands of Reindeer on an Epic Journey,” Nature on PBS, YouTube, November 2020. Haigh, Jerry, Reindeer Reflections: Lessons from an Ancient Culture, Rocky Mountain Books, October 2021. –Website https://www.jerryhaigh.com/ –Facebook https://www.facebook.com/jerry.haigh  –Twitter @glasgowwildvet –LinkedIn https://www.linkedin.com/in/jerry-haigh-9b63735/   “Highly competitive reindeer males control female behavior during the rut,” by G. Body et. al, PLoS One, National Library of Medicine, April 2014. Intelligence of reindeer. “On Reindeer and Men,” by Tim Ingold, Man, New Series, Vol. 9, No. 4, Royal Anthropological Institute of Great Britain and Ireland, December 1974, pp. 523-538.  “Living With Reindeer,” Nat Geo WILD, Youtube, December 2016. Winter is coming and indigenous Sami reindeer herders make preparations for their domesticated reindeer.  “Norway, the Twilight of Reindeer,” Show Me The World, YouTube, November 218. Sami herders struggle with the threat of global warming.  Red noses on reindeer. – “Reindeer Noses Really Do Glow Red!” Nature on PBS, YouTube, December 2016.  – “The Scientific Reason Why Reindeer Have Red Noses,” by Joseph Stromburg, Smithsonian Magazine, December 2012. – “Why Rudolph's Nose is Red,” Can Ince et. al., The British Medical Journal, December 2012.  “Reindeer” by Travis Kemp, podcast, Calming Facts, December 2020. A hilarious (and relaxing) list of cool reindeer facts. Reindeer Cyclone Videos --from drone https://www.youtube.com/watch?v=HOr8I0rh0hE  (In an article about this video we find out a veterinarian caused it)  --about reindeer cyclones on PBS https://youtu.be/xv8UtXWk8UI  --Reindeer cyclone on BBC YouTube https://www.youtube.com/watch?v=xv8UtXWk8UI --cyclones as predator evasion https://www.youtube.com/watch?v=ffkKy3brFzk  “Reindeer Were Domesticated Much Earlier Than Previously Thought,” by Geoff McMaster, PhysOrg, June 2020. “Top 5 Reindeer Moments,” on BBC Earth -- 20 amazing minutes just chilling with reindeer and their peaceful personalities. All about riding in a sleigh and witnessing the northern lights. Chockfull of beauty and fascinating facts. Super charming!

Matt Valler, Clayton Crockett, Tim Ingold*, and Petra Carlsson respond to our recent Terence McKenna episode: Pt 1: https://www.entheosdesigns.net/podcast/episode/8f99fe72/terence-mckenna-elven-eschatology-pt-1-with-justin-pearl-16 Pt 2: https://www.entheosdesigns.net/podcast/episode/8ffa53af/terence-mckenna-elven-eschatology-pt-2-with-justin-pearl-17 Matt Valler: https://pure.qub.ac.uk/en/persons/matt-valler Clayton Crockett: https://uca.edu/philosophy/facultystaff/clayton-crockett/ Tim Ingold: https://www.abdn.ac.uk/socsci/people/profiles/tim.ingold Petra Carlsson: https://ehs.se/en/people/petra-carlsson/ Hello Meteor: https://hellometeor.bandcamp.com/ entheosdesigns.net "We say 'peace' because peace is what we want: a piece of the pie that America flaunts." KRS ONE *Not exactly...

Welcome back folks! Today's episode circles some big questions. What does it mean to be human? What's distinctive about the human mind and the human mode of being? What is human nature—if such a thing exists—and how could we catch a glimpse of it? Should we go looking for it in other primate species? Should we look deep in our fossil record? My guest today is Dr. Agustín Fuentes, Professor of Anthropology at Princeton University. He is the other of a number of books, most recently The Creative Spark, in 2017, and Why We Believe, in 2019. Agustín was trained as a biological anthropologist, but as, you'll hear, he's very much interested in the whole human, not just our skulls and teeth and genes. He's spent the better part of his career trying to build a more integrated, more fully fleshed out view of our species—one that takes seriously our bodies and brains, our culture and cognition, our primate heritage and our Pleistocene past.  Here we talk about Agustín's career—how he got into anthropology in the first place, and how he went from observing langurs in Indonesia, to writing about human creativity and belief. We discuss the human niche and why it's distinctive (but maybe not unique). We touch on monogamy and how it's not a monolith. We talk about maleness and masculinity. And, for those who've been following recent hubbubs online, rest assured that we also talk about Darwin—and specifically what Darwin got wrong about biological sex and race. I've been following Agustín's work for some time and was thrilled to get him on the show. He's an unusually expansive and boundary-crossing thinker—and that's on full display in this conversation. He also doesn't shy away from messiness. He welcomes the mess. He celebrates complexity. He enthuses about the richly, entangled human condition. Whether or not you yourself celebrate mess and complexity and entanglement—I'm pretty sure you'll enjoy hearing what Agustín has to say about it.  One quick announcement before he get to it: we'd like to welcome a new member of the Many Minds team: Cecilia Padilla. She is our new Assistant Producer, and we're super excited to have her on board.  Alright friends—here's my chat with Dr. Agustín Fuentes. Enjoy!   A transcript of this episode is available here.    Notes and links 6:00 – One of the first anthropology courses to inspire Dr. Fuentes was taught by Dr. Phyllis Dolhinow of UC Berkeley. 9:15 – An early publication by Dr. Fuentes on the Mentawai langur (Presbytis potenziani). 12:00 – A 2012 paper by Dr. Fuentes laying out the aims, findings, and history of the subfield known as ethnoprimatology, which studies interactions between humans and primates. 13:30 – A 2013 paper by Dr. Fuentes describing ethnoprimatological findings from Bali. 17:30 – Dr. Fuentes's 1998 paper on monogamy, which he considers one of his first important contributions to the field. 22:00 – In 2008 Dr. Fuentes published Evolution and Human Behavior, a book-length comparison of different accounts of why humans are the way they are. 23:15 – The classic book on niche construction by Odling-Smee and colleagues. A single-article discussion of the concept of niche construction is available here. 26:00 – The Extended Evolutionary Synthesis website, which Dr. Fuentes recommends. 29:40 – A paper by Dr. Fuentes on the human niche. 32:00 – One distinctive aspect of the human niche—belief—is discussed extensively in Dr. Fuentes's book Why We Believe. 37:00 – Dr. Fuentes recently reviewed Kindred, by Rebecca Wragg Sykes, who we had on the show previously. 39:30 – Dr. Fuentes's recent paper on the search for the “roots” of masculinity. 54:00 – Dr. Fuentes recently wrote a chapter on Darwin's account of the “races of man” in A Most Interesting Problem, a volume edited by Jeremy De Silva. See also his recent editorial in Science, which raised quite a stir. Dr. Fuentes also recommends the chapter in the De Silva volume by Dr. Holly Dunsworth titled ‘This View of Wife.' 1:03:00 – For the broader historical and biographical context of Darwin's ideas, I recommend Janet Browne's two-volume biography. 1:12:15 – Dr. Fuentes quotes Tim Ingold's idea that “anthropology is philosophy with people in it.” If you're interested in learning more about the topics we discussed, be sure to check out Why We Believe and The Creative Spark. Dr. Fuentes also recommends: Kindred, Rebecca Wragg Sykes The Promise of Contemporary Primatology, Erin P. Riley Emergent Warfare in Our Evolutionary Past, Nam C. Kim & Marc Kissel Recent books on race by Dorothy Roberts and Alondra Nelson Anthropology: Why It Matters, Tim Ingold Darwin's Unfinished Symphony, Kevin Laland Pink Brain, Blue Brain, Lise Eliot The Little Prince, Antoine de Saint-Exupéry   You can find Dr. Fuentes on Twitter (@Anthrofuentes) and follow his research at his website.      Many Minds is a project of the Diverse Intelligences Summer Institute (DISI) (https://disi.org), which is made possible by a generous grant from the Templeton World Charity Foundation to UCLA. It is hosted and produced by Kensy Cooperrider, with help from assistant producer Cecilia Padilla. Creative support is provided by DISI Directors Erica Cartmill and Jacob Foster. Our artwork is by Ben Oldroyd (https://www.mayhilldesigns.co.uk/). Our transcripts are created by Sarah Dopierala (https://sarahdopierala.wordpress.com/). You can subscribe to Many Minds on Apple, Stitcher, Spotify, Pocket Casts, Google Play, or wherever you like to listen to podcasts. We welcome your comments, questions, and suggestions. Feel free to email us at: manymindspodcast@gmail.com. For updates about the show, visit our website (https://disi.org/manyminds/), or follow us on Twitter: @ManyMindsPod.

“Paul Mignard“ The Returnà fabre, Parisdu 5 juin au 3 octobre 2021Interview de Paul Mignard,par Anne-Frédérique Fer, à Paris, le 4 juin 2021, durée 18'57.© FranceFineArt.Extrait du communiqué de presse :Curatrice : Alexandra Fauà l'initiative du projet : Annabelle PonroyFABRE est le fruit d'une collaboration inédite entre une amateur d'art, une commissaire d'exposition, une artiste et son galeriste. FABRE, une nouvelle adresse à proximité de la Place de la Nation à Paris présentera à intervalles réguliers un environnement artistique, au sens où l'on n'en voit plus ; dans son ajustement à l'espace, son attention portée au détail, son raffinement dans le rapport à l'autre. Dans un appartement haussmannien – à ses heures, cabinet de psychanalyse -, Annabelle Ponroy invitera régulièrement un créateur à renouer avec « l'esprit salon » d'antan dans sa dimension exclusive, mondaine et sociale.L'exposition – vue par Alexandra Fau“C'est par la couleur que je suis arrivé à l'Alchimie‘. Par cette dernière phrase, s'achève notre entretien avec Paul Mignard (né en 1989) à quelques mois de l'exposition “The Return“ (5 juin-3 octobre 2021). Elle est révélatrice d'une réflexion puissamment ancrée dans la pratique picturale, même si son inspiration puise à de multiples sources, dans divers domaines (la cartographie, la minéralogie, le chamanisme (1)…).Dans son atelier, Paul Mignard est habitué à manipuler des colorants, des poudres, de la feuille d'or et d'argent. Il fait resurgir la figure de l'artisan-artiste d'autrefois ; celui qui prenait part au savant mélange des pigments et des liants. Malgré l'invention des pigments synthétiques, Mark Rothko s'engage dans des expériences pigmentaires parfois audacieuses aux dommages irréversibles. Les craquelures sont ainsi une sorte de rançon à l'empirisme expérimental de l'artiste. Dans les mêmes années, Yves Klein inventeur de l'IKB (International Klein Blue) utilise la matière picturale comme vecteur de poétique, porté par un ailleurs dématérialisé et hypra sensible.Dans l'appartement, transformé en laboratoire le temps de l'exposition, les éléments épars – colorants et poudres encapsulées parfois très toxiques – constituent les différents états de ce qui pourrait être le Grand oeuvre en Alchimie. A Fabre, s'officie une sorte de “mélange“ entre les sons, les odeurs, les couleurs, les matières et les gestes. Pas de toile montée sur châssis à proprement parlé. Plutôt des bannières, reprenant la forme de la toile libre du mouvement Support(s)-Surface(s) ou encore les anciennes toiles de décor de cinéma de Jim Shaw pour l'exposition “Left Behind“ au CAPC de Bordeaux en 2010. L'artiste Paul Mignard vient ensuite y déposer des chapelets, des chiffres énigmatiques, en guise d'offrandes “sans Dieu“. Ses oeuvres renvoient aux productions mystico-religieuses des premières années de Robert Smithson (Untitled [Pink linoleum center], 1964). De même le télescopage entre la peinture “la table d'Émeraude“ et la bande son issue du magnétophone Révox n'est pas sans rappeler une autre pièce de Smithson, Untitled [Record player] 1962.Pour l'exposition “The Return“ à Fabre, Paul Mignard a en effet imaginé une double partition, spatiale et sonore. La toile peinte recto-verso rejoue en effet le découpage initial du double salon parisien – la découpe de chacune des pièces étant encore visible avec les deux cheminées attenantes. Elle offre symboliquement une percée, un trou dans la vie (2). Inspiré du dispositif de la lanterne magique (3), cette traversée du miroir annonce une bascule possible vers un monde secret, et renvoie plus encore au cabinet de psychanalyse adjacent. Le travail de Paul Mignard est aussi une traversée sémantique. Ainsi repère-t-il une divergence notable dans la version arabe extraite du Secret des secrets du pseudo-Aristote (Xe siècle), avec la version latine d'hortulain (XIVe siècle) (4).Dans l'appartement, des formes et des signes s'égrènent et s'accumulent. L'antre de Paul Mignard est un peu à l'image de celle de l'architecte Yona Friedman peuplée de chapelets, gri-gri ou d'éléments votifs. Quant aux bananes séchées, elles sont “une action nécessaire et périphérique comme de laver ses pinceaux“. Ces éléments divers extraits de civilisations variées, des objets magiques, des formes taillées, quantité de minéraux (l'azurite, la malachite et le soufre) contribuent à la recréation d'une atmosphère pas si éloignée de celle qui prévalait au 19ème siècle. L'historien de l'art Pascal Griener parle de “ce qui attire alors les masses tient moins au contenu des musées qu'à la promesse d'un merveilleux toujours renouvelé, d'expériences chatoyantes et multiples où le corps, et non l'esprit désincarné joue un rôle décisif – reconstitutions de lieux “atmosphériques“, objets magiques, formes étranges taillées par des hommes appartenant à des cultures inconnues“ (5). Dans ce sillage, l'installation à Fabre met le spectateur face à une mise en scène de l'art, de la magie qui laisse place à “une fascination stupéfaite“.Paul Mignard voue un penchant pour la codification et le symbolisme. Ses pentacles – cachés à la vue à Fabre – sont associés à 7 planètes, 7 couleurs et aux 7 jours de la semaine. Mais, la “collision de symboles les annihile tout à la fois“. La logique humaine voudrait pourtant trouver un sens, une vérité cachée ou tout du moins se frayer un passage. Pour autant, l'œuvre ne se donnera jamais pleinement ; elle est cryptée comme un ancien talisman indéchiffrable. Au spectateur, de la parcourir visuellement, de se perdre dans ses méandres et ses flux scintillants pour y tracer son propre chemin de traverse, dans une lente découverte de soi.Le travail de Paul Mignard explore la notion d'ésotérico-géographie, l'appréhension de la géographie et de la géologie comme des espaces à double dimension : à la fois physique et ésotérique, révélant un sens profond ; la représentation symbolique d'une expérience spirituelle, mystique ou émotionnelle. Son installation renvoie à des rituels de la “tente claire – tente sombre“, localisé en Sibérie (6). Quant à la toile “La Table d'Émeraude“, elle s'inspire tout à la fois de la représentation de La Table d'Émeraude d'Heinrich Khunrath (1610) mêlée au souvenir d'un paysage de crête le temps d'une randonnée dans le Vercors, avant de suivre les pas de l'artiste dans un parcours plus urbain, à la Défense, où il a actuellement son atelier.Ses vastes compositions sur trois mètres de long offrent une vision panoramique ponctuée de signes divers, d'écritures cartographiques, d'effets de matières dignes des Forêts de Max Ernst (Lago di Como Lago, 2016), de polyèdres, recouverts de pigments et de paillettes. Certaines oeuvres portent l'empreinte d'objets religieux (chapelets) ou traditionnels (dentelles à travers lesquelles l'artiste a soufflé au sol de la poudre de pigment). Ces empreintes forment des lignes qui sont autant de chemins à parcourir fiévreusement comme si l'énigme de la toile s'y trouvait. Tim Ingold convoque cette histoire des lignes, de celle des chemins de traverse, des déplacements improvisés par les autistes et étudiés par Fernand Deligni, de la ligne sinueuse, imprévisible. Au mépris des adeptes de la ligne droite, l'oeuvre en appelle à ceux “qui vagabondent, qui ne marchent pas droit mais choisissent délibérément de zigzaguer, qui se conduisent – comme Le Corbusier l'insinue – comme des ânes ? … (les adeptes de la ligne droite) collectent toutes les informations, qu'ils confondent avec la connaissance. Quel besoin ont-ils de questionner le monde, puisqu'ils savent déjà ? aveuglés par l'information et éblouis par les images, ils ne voient rien de ce qui se passe sous leurs yeux. (…) En vérité, jamais dans l'histoire du monde, autant d'informations n'ont été associées à si peu de sagesse. Il me semble que la sagesse ne suit pas les lignes droites mais qu'elle emprunte plutôt la même route que celle des ânes“ (7).Paul Mignard a consciemment ou non parlé à plusieurs reprises de “chambre d'échos“. La profusion des signes et des symboles convoqués dans ses oeuvres relaie notre sentiment de vivre confusément le monde, de cheminer à l'aveugle, en développant par nécessité de nouvelles formes de croyances.Alexandra Fau1. Voyager dans l'invisible, techniques chamaniques de l'imagination, Charles Stépanoff, préface de Philippe Descola, La Découverte, 2019.2. Jean-Pierre Criqui, Un trou dans la vie. Essais sur l'art depuis 1960, collection “Arts et Esthétique“, Desclée de Brower, 2002.3. La lanterne magique est une boite percée d'une ouverture par laquelle pénètre la lumière extérieure, ou bien munie d'une source lumineuse interne. La lumière se réfléchit sur un miroir et vient frapper une plaque de verre peinte qui est installée à l'envers à l'opposé de la source lumineuse. Par un phénomène optique, la lumière passe par une lentille et rétablit les images à l'endroit qui sont projetées sur un mur ou un drap.4. Hermès Trismégiste, La Table d'Émeraude et sa tradition alchimique, préface de Didier Khan, Les Belles Lettres, 20175. Pascal Griener, La République de l'oeil. L'expérience de l'art au siècle des Lumières, Paris, Odile Jacob, 2010, p188.6. Un dispositif dans lequel l'assistance est éclairée par le feu ou plongée dans l'obscurité totale alors que le chamane use de technique pour faire entendre sons et voix.7. Tim Ingold, Faire – anthropologie, archéologie, art et architecture, éditions Dehors, 2017, p.298. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Neste episódio, conversamos com Vitor Queiroz (mais informações em http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4479226A6) sobre as relações entre a entidade Exú-Bará, o Mercado Público de Porto Alegre (RS) e o Mercado Municipal de Santo Amaro (BA). Ele (Vitor) vem realizando uma etnografia comparativa se perguntando como se dá a inter-relação entre religiosidade, a produção e o fluxo de mercadorias, os valores, as pessoas e as memórias nestas duas localidades específicas. As leituras e vídeo indicado por Vitor são o que se segue: Participação de Vitor no Encontros com a Antropologia: https://www.youtube.com/watch?v=k3PW5UpKfR0 Bibliografia específica: MACHADO, Ana. Bembé do Largo do Mercado. Dissertação de mestrado multidisciplinar – Pós-Afro, Faculdade de Filosofia e Ciências Humanas, Salvador: UFBA, 2009. MACHADO, Cauê. Lugares e Objetos de Memória no Batuque Gaúcho. Religião e Sociedade, Rio de Janeiro, vol.35, n.1, 2015. ORO, Ari; DOS ANJOS, José Carlos. e CUNHA, Mateus. A Tradição do Bará do Mercado. Porto Alegre: PMPA/SMC/CMEC, 2007. Por onde observo as religiões afro-brasileiras/diaspóricas: CARDOSO, Vânia e HEAD, Scott. Matérias Nebulosas: coisas que acontecem em uma festa de Exu. Religião e Sociedade, Rio de Janeiro, vol.35, n.1, 2015. PELTON, Robert. The Trickster in West Africa: a study of mythic irony and sacred delight. Berkeley: University of California Press, 1980. GOLDMAN, Márcio. O Dom e a Iniciação Revisitados: o dado e o feito em religiões de matriz africana no Brasil. Mana, Rio de Janeiro, vol.18, n.2, 2012. QUEIROZ. Vítor. O Corpo do Patriarca. Mana, Rio de Janeiro, vol.25, n.3, 2019. RABELO, Míriam. Construindo Mediações nos Circuitos Afro-Brasileiros. In: STEIL, Carlos e CARVALHO, Isabel (orgs.). Cultura, Percepção e Ambiente: diálogos com Tim Ingold. São Paulo: Terceiro Nome, 2012, p.103-119. Inspiração teórica: LATOUR, Bruno. Reflexão sobre o culto moderno dos deuses fe(i)tiches. Florianópolis: EDUSC, 2002 (1996). LÉVI-STRAUSS, Claude. A Estrutura dos Mitos (1955). In: LÉVI-STRAUSS, Claude. Antropologia Estrutural. São Paulo: Cosac Naify, 2008 (1958). STRATHERN, Marilyn. O Efeito Etnográfico (1999). In: STRATHERN, Marilyn. O Efeito Etnográfico. São Paulo: Cosac Naify, 2014. VIVEIROS DE CASTRO, Eduardo. O Nativo Relativo. Mana, Rio de Janeiro, vol.8, n.1, 2002. TURNER, Victor. The Forest of Symbols. Ithaca: Cornell University Press, 1970 (1969). Sobre o príncipe Custódio Joaquim de Almeida: https://admin.apers.rs.gov.br/upload/arquivos/202104/20154951-livro-principe-custodio-pronto.pdf

“Versus – Écologie & coexistence”Édition 2021Bruxelles (BE), Vérone ( IT), Montpellier, Le Crès, Le Mas Supérieur ( FR)avril / juin & septembre 2021Interview de Rachele Ceccarelli, co-fondatrice Corpo Opaco et membre curatorial du projet Versus,par Anne-Frédérique Fer, enregistrement réalisé par téléphone, entre Paris et Montpellier, le 30 avril 2021, durée 28'30,© FranceFineArt.Extrait du communiqué de presse :Direction artistique, sur une proposition de :Galerie L'Aberrante – Valérie Vernhet, Corpo Opaco – Rachele Ceccarelli et Emanuela Cherchi, Fonderia 20.9 – Chiara Bandino, Francesco Biasi, Angelica Rivetti et Emanuele Bruttiet L'Image à venir – Mélanie Patris et Nathalie Hannecart.16 artistes / 4 équipes curatoriales / 3 paysMars 2020, nous vivons notre premier confinement, fermeture des galeries, arrêt de l'activité culturelle, une exposition qui tourne court… L'idée de Versus apparaît alors, trouver le moyen de poursuivre la diffusion de l'art.16 artistes en projection autour des thèmes de l'écologie et de la coexistenceEcologie et coexistence sont les questions au coeur de Versus, un projet collaboratif réunissant seize photographes engagés dans des réflexions interconnectées sur l'écologie, la fragilité des écosystèmes, la présence humaine dans le paysage naturel. Chaque organisateur a fait une sélection de quatre artistes qui explorent, à travers un langage photographique vaste et hétérogène, le thème essentiel de notre relation avec le monde dans lequel nous vivons et auquel nous appartenons.Le mot Versus nous a offert des repères importants pour commencer à approfondir le large et complexe sujet de la pensée écologique, en lien avec son sens étymologique et ses significations multiples. Interprété comme un clash, un conflit, « versus » rappelle les oppositions binaires esprit / corps, culture / nature, humain / animal qui depuis longtemps définissent le relations avec notre environnement.Pensé plutôt dans son sens latin d'origine, comme un adverbe indiquant le mouvement, « versus » suggère un changement de direction, la possibilité de surmonter une fracture qui semble irréparable. Si le rapport à notre environnement a souvent été abordé comme une appropriation, une occupation ou une exploitation, nous amenant à la crise écologique actuelle, peut-être pouvons nous aussi envisager des formes de cohabitation respectueuse avec l'incroyable pluralité de tout ce qui n'est pas humain et irrévocablement enchevêtré avec l'humain. Penser à l'écologie commence donc vraiment par la prise de conscience que nous faisons tous partie d'un vaste «maillage», comme l'a défini Timothy Morton, qu'être implique toujours un être-avec et exister signifie toujours coexister.Photographier nous permets de passer du temps à observer de près ce qui nous entoure, à découvrir et à méditer sur les histoires que nous avons choisi de raconter; en prenant des images, nous nous connectons au monde que nous photographions, nous nous impliquons dans un processus de co-réponse.Dans Versus, la photographie est pensée et vécue comme un «art de l'attention», pour reprendre une expression de l'anthropologue britannique Tim Ingold, une manière créative de s'occuper et de prendre soin des organismes, des créatures, des terres, des personnes que nous rencontrons. Une manière d'entrer en relation et d'en devenir responsable, en tant que photographes et spectateurs.Les photographes créent des récits visuels. Ces derniers sont présentés dans une narration continue et accompagnés par des pièces musicales. Le spectateur est immergé dans ces mondes faits de corps, d'histoires, de nature et de culture.Images et idées résonnent, se répondent, empruntent de nouveaux chemins, nous invitant à repenser nos façons de percevoir, de représenter et d'être-avec notre environnement. Re/imaginer les relations écologiques et la coexistence.Les 16 photographes invitésPar la Galerie L'Aberrante : Céline Clanet / Arianna Sanesi / Mélanie Patris / Hélène DavidPar Fonderia20.9 : Elena Aya Bundurakis / Jan Stradtmann / Louis Perreault / Massimo MastrorilloPar L'Image à Venir : Marc Wendelski / Marine Lanier / SEBASTIÁN LÓPEZ Brach / Yvette MonahanPar Corpo Opaco : Coline Jourdan / Léa Habourdin / Marina Caneve / SofÍA LÓpez MÁÑANLes lieux en FranceGALERIE L'ABERRANTE – Le Mas Supérieur – 30949 Saint-André-de-Valborgnehttp://galerielaberrante.comFONDERIA 20.9 – Via XX Settembre, 67/A, 37129 Verona VR, Italiehttps://www.fonderia209.com/L'ENFANT SAUVAGE – Rue de l'Enseignement 23, 1000 Bruxelles, Belgiumhttps://www.enfantsauvagebxl.comESPACE TRANSIT – 3 Rue Ranchin, 34000 Montpellierhttp://www.transit-photo.comL' AGORA – Voie Domitienne, 34920 Le Crèshttp://www.kiasma-agora.comLa programmation des différents évènements de Versus, les journées de projection, les rencontres avec les artistes WEBINAR en live sur la chaîne YouTube de Corpo Opaco, les expositions, les conversations en TRANSIT, les WORKSHOP, sont référencés sur la page FaceBook de Versus :https://www.facebook.com/Versus-105171841647905/La direction artistique Galerie L'Aberrante http://galerielaberrante.comToute jeune galerie d'art photographique, nous avons ouvert nos portes à Montpellier en mars 2018. Nous nous consacrons à donner davantage de visibilité aux femmes photographes et à montrer la diversité de création de ces artistes. Nous organisons dans cet objectif cinq expositions individuelles et une collective par an. Principalement orienté vers la photographie, le lieu reste ouvert à d'autres pratiques artistiques se mêlant à la photographie et propose des rencontres transversales (performances, lectures, projections etc) autour des thématiques traitées par les expositions et sur proposition des artistes invités tout au long de la programmation. Nouvellement installée dans les Cévennes, nous allons davantage développer les résidences d'artistes ainsi que les expositions en plein air.Fonderia20.9 https://www.fonderia209.comLancé en 2015 à Vérone, en Italie, Fonderia 20.9 est un espace artistique autogéré dédié à la photographie contemporaine, cofondé par Chiara Bandino, Francesco Biasi et Emanuele Brutti. Fonderia 20.9 complète les expositions d'artistes émergents et établis avec des projets in situ où les personnes intéressées par les arts visuels peuvent se rassembler et partager des idées. La galerie dispose également d'une bibliothèque d'art, une salle de projection et une imprimerie d'art. Au cours des 5 années de sa vie, la galerie a accueilli 22 expositions présentant des artistes tels que Carlotta Cardana, Piergiorgio Casotti, Giulia Bianchi, Mattia Balsamini, Rafal Milach, Mariela Sancari, Giulia Flavia Bazynski, Bianca Salvo, Achille Filipponi, Massimiliano Trezza, Cesare Ballardini, Olga Bushkova, Hélène Bellenger et Massimo Mastrorillo. Fonderia 20.9 a collaboré avec divers festivals, galeries et musées tels que Cortona On The Move, SI Fest, Fotoforum, Museo del Paesaggio Verbania, Landscape Stories, T14 Contemporary, DOOR, Spazio 1929, Le Bleu du Ciel-Centre de photographie contemporaine, Gallerie Intervalle, LeBoudoir. Fonderia 20.9 fait également partie du conseil de conservation du SÅM, un projet culturel en collaboration avec le Film Festival Della Lessinia, qui comprend des conférences, des expositions et un programme de résidence pour artistes.L'Image à Venir https://www.limageavenir.comNathalie Hannecart et Mélanie Patris collaborent depuis 2018 dans un projet expérimental qui lie diverses formes d'écritures photographiques, et ce, au départ d'un travail sur l'autoportrait et le féminin dont le thème s'élargit au fil du temps. Le travail du collectif a été exposé au Centre de la gravure et de l'image imprimée à La Louvière(B) (novembre 2019), lors du Festival international de Photographie expérimentale à Barcelone (ES) (EXP.20, janvier 2020) et au Centre Culturel de Waterloo (B) (mars 2020).Corpo Opaco https://www.corpo-opaco.comCorpo Opaco est une association loi 901, imaginée comme un espace de conversation partagé pour explorer les pratiques photographiques contemporaines. Elle souhaite devenir une scène de collaboration, de découverte, de réflexion, d'expérimentation, de questionnement, et de connexion à travers les images. Créée en 2020 par Emanuela Cherchi et Rachele Ceccarelli, cette association est présente à la fois dans le monde numérique et physique: publiant régulièrement des interviews, des portfolios et des recensions de livres sur sa plateforme en ligne et organisant des événements à Montpellier. L'automne dernier, en collaboration avec le collectif Transit et la Galerie L'Aberrante, l'association a initié Conversations en Transit, une nouvelle série de rencontres centrées sur la représentation de l'environnement et la relation aux espaces naturels. Corpo Opaco participe à la création et au développement de Versus, un projet de commissariat collectif entre l'Italie, la Belgique et la France, qui s'intéresse aux questions de la pensée écologique et de la coexistence avec le vivant. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

On Practice: Listening asks: How can listening form a space of political encounter? What is the difference between listening and hearing? How do other people hear?  This episode features artist Ain Bailey's collaboration with Micro Rainbow alongside recordings from Pauline Oliveros' tuning meditations, a sound piece from artist collective Ultra-red and a contribution from academic and sound practitioner Ximena Alarcón. In this episode of On Practice we highlight the work of one of our long-term partners, Micro Rainbow, who support LGBTQI+ asylum seekers and refugees experiencing isolation in the UK.  You can read more about Micro Rainbow's work here, and Become An Ally or support the furnishing of their safe houses by sending an item from their Amazon Wish List. On Practice is produced by Reduced Listening. Image credit: Joy Yamusangie. Show Notes Over the last year through the pandemic, we've seen more than ever how our individual actions impact others, how we're all interdependent. This three-part podcast series explores the practices that can sustain us individually and collectively – Cooking, Listening and Walking - and how they can be used to bring people together to work towards change. Hosts Amal Khalaf and Alex Thorp welcome artists, collaborators and friends to explore ideas and projects developed as part of Serpentine's Education and Civic programme, which connect communities, artists and activists to generate responses to pressing social issues. These are projects that have been developed in collaboration with people, centred on the body, the city, and exploring the injustices we experience in our everyday life. Hear from Jasleen Kaur, Elia Nurvista, Fozia Ismail, Ain Bailey, Micro Rainbow, Portman Early Childhood Centre, Ultra-red, Ximena Alarcón, Sam Curtis, Tim Ingold, Voice of Domestic Workers and Katouche Goll. Each of the three episodes are accompanied by an exercise, kindly shared by the artists, an invitation to join their practice. ABOUT AIN BAILEY Ain Bailey is a sound artist and DJ. She facilitates workshops considering the role of sound in the formation of identity and recently held a residency at the ICA, London. Exhibitions in 2019 included ‘The Range' at Eastside Projects, Birmingham; ‘RE:Respite' at Transmission Gallery, Glasgow, Scotland, and ‘And We'll Always Be A Disco In The Glow Of Love', a solo show at Cubitt Gallery, London. Bailey was also commissioned by Supernormal and Jupiter festivals to create and perform a new work, ‘Super JR'. Last year, Bailey was commissioned by Radiophrenia Glasgow, a temporary art radio station, to create a new composition entitled ‘Ode To The N.H.S.'. Currently, following a commission by Serpentine Projects, she is conducting sound workshops with LGBTI+ refugees and asylum seekers, as well as working on a commission for Savvy Contemporary's new radio station, SAVVYZAAR. https://www.serpentinegalleries.org/whats-on/ain-bailey/ https://www.serpentinegalleries.org/whats-on/sonic-stories/  Instagram: @ain.bailey ABOUT MICRO RAINBOW Micro Rainbow supports LGBTI asylum seekers and refugees in the UK. Our work focuses on supporting isolated LGBT+ refugees and asylum seekers who flee countries like Uganda, Zimbabwe, Pakistan and many other countries where LGBTI people face persecution. Our projects tackle isolation through workshops, peer support groups and our choir. We also support refugees into employment and skills training, and support those starting or wanting to start small businesses. Micro Rainbow opened the first safe house in the United Kingdom dedicated solely to LGBTI asylum seekers and refugees. Our brand new safe housing project is the first of its kind in the UK and provides accommodation for LGBT+ refugees and asylum seekers who face homelessness or dispersal. Our social inclusion tackles isolation experienced by LGBTI asylum seekers who flee their country and, coming to a new country, usually experience feelings of withdrawal.  https://microrainbow.org/ Instagram/Twitter: @Microrainbow  ABOUT SONIC STORIES https://www.serpentinegalleries.org/whats-on/ain-bailey/ ABOUT ULTRA-RED  In the worlds of sound art and modern electronic music, Ultra-red pursue an exchange between art and political organizing. Founded in 1994 by two AIDS activists, Ultra-red have over the years expanded to include artists, researchers and organisers from different social movements including the struggles of migration, anti-racism, participatory community development, and the politics of HIV/AIDS. Collectively, the group have produced radio broadcasts, performances, recordings, installations, texts and public space actions (ps/o). Exploring acoustic space as enunciative of social relations, Ultra-red take up the acoustic mapping of contested spaces and histories utilising sound-based research (termed Militant Sound Investigations) that directly engage the organizing and analyses of political struggles. Ultra-red were in residence with the Serpentine Galleries' Centre for Possible Studies from 2009 - 2013 resulting in the exhibition RE-ASSEMBLY.  https://www.serpentinegalleries.org/whats-on/the-school-and-the-neighbourhood-a-subverted-curriculum-2/  https://www.serpentinegalleries.org/whats-on/ultra-reds-reassembly/ https://halfletterpress.com/ultra-red-workbook-07-re-assembly-pdf-5/ https://centreforpossiblestudies.wordpress.com/2016/07/04/the-school-and-the-neighbourhood-a-subverted-curriculum-launched/ ABOUT Ximena Alarcón AK to add bio/links Ximena Alarcón (PhD) is a sound artist and academic researcher interested in listening to in-between sonic spaces and how they are manifested in dreams, underground public transport and the migratory context. Her research focuses on creating telematic improvisations using Deep Listening®, and interfaces for relational listening. Her most recognized works are the interactive sound space Sounding Underground (IOCT-DMU, The Leverhulme Trust Fellowship 2007-2009), the series of telematic sound performances Networked Migrations (CRiSAP - UAL, 2011-2017), and INTIMAL: Interfaces for Listening Relational (RITMO-UiO, 2017-2019, Marie Skłodowska Curie Individual Fellowship). Ximena is a certified Deep Listening tutor and has taught the practice in Colombia, India, Spain, Germany, Mexico, Brazil and the UK. She is currently a tutor in the online Deep Listening certification program offered by the Center for Deep Listening (RPI), and works independently in the second phase of the INTIMAL project that involves: an "embodied" physical-virtual system for relational listening in telematic sonic performance; a virtual territory of Latin American migrant women in Europe; and a telematic creation laboratory for the women who inhabit the INTIMAL territory. https://www.ximenaalarcon.net/ Twitter: @ximesonic Pedagogies of the ear https://www.serpentinegalleries.org/whats-on/pedagogies-ear/  The soundcloud of this event -  https://soundcloud.com/serpentine-uk/sets/pedagogies-of-the-ear  

On Practice: Walking asks how does walking shape our experience of the city? How can it be used as a tool for resistance and change? Featuring artist Sam Curtis's Changing Play project with children from the Portman Early Childhood centre, Which Way Now? alongside interviews with anthropologist Tim Ingold, campaign group Voice of Domestic Workers and writer Katouche Goll. In this episode of On Practice we highlight the work of two of our long-term partners, The Voice of Domestic Workers and The Alliance for Inclusive Education, ALLFIE.  The Voice of Domestic Workers, is a grassroots organisation made up of multi-national migrant Domestic Workers in the UK.  They work to empower migrant domestic workers to stand up and voice their opposition to discrimination, inequality, slavery and all forms of abuse. You can read more about their support network, campaigns here, donate here, or support by purchasing their new Our Journey book ALLFIE is a Disabled people-led organisation in the UK. They campaign for the right of all Disabled pupils and students to be fully included in mainstream education, training and apprenticeships with all necessary supports. You can find out more about them here. You can stand up for inclusive education by signing their manifesto or help ALLFIE build a better, more inclusive world by becoming a member of the Alliance. On Practice is produced by Reduced Listening. Image credit: Joy Yamusangie Show Notes Sam Curtis is an artist and curator based in London. Working with other people is central to his practice. Through dialogue, walking and making with others; his work explores ideas around agency, autonomy, exchange and labour.   He has exhibited and worked with Seymour Art Collective, Whitechapel Gallery, Edgware Road Project: Serpentine Galleries, Turner Contemporary, CREATE London, The Showroom, Eastside Projects, Arts Admin, Ateliers de Rennes Biennale, Beursschouwburg, News of the World and Pi: Artworks Istanbul. He has an MFA from Goldsmiths College and his work is represented by Division of Labour. He is currently curator at Bethlem Gallery. https://www.serpentinegalleries.org/whats-on/which-way-now/ Portman Centre The Portman Early Childhood Centre provides education, care and family support services for young children and their families living in the Church Street area of Westminster, North London. These include a nursery school, adult education classes, family support, employment services, parenting groups and workshops. http://www.westminster-ne-centres.co.uk/en/about/  Tim Ingold Tim Ingold is Professor Emeritus of Social Anthropology at the University of Aberdeen. He has written about environment, technology and social organisation in the circumpolar North, on animals in human society, and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold's current interests lie on the interface between anthropology, archaeology, art and architecture. His recent books include The Perception of the Environment (2000), Lines (2007), Being Alive (2011), Making (2013), The Life of Lines (2015), Anthropology and/as Education (2018), Anthropology: Why it Matters (2018) and Correspondences (2020). Voice of Domestic Workers The Voice of Domestic Workers is an education and campaigning group calling for justice and rights for Britain's 16,000 migrant domestic workers. They provide educational and community activities for domestic workers – including English language lessons, drama and art classes and employment advice, and mount rescues for domestic workers stuck with abusive employers. Their work seeks to end discrimination and protect migrant domestic workers living in the UK by providing or assisting in the provision of education, training, healthcare and legal advice. https://www.thevoiceofdomesticworkers.com/  Instagram: @thevoiceofdomesticworkersTwitter: @thevoiceofdws Disabled People Against Cuts Disabled People Against Cuts (DPAC) is an organisation for disabled people and allies to campaign against the impact of government spending cuts on the lives of disabled people. Formed on 3 October 2010 DPAC promotes full human rights and equality for all disabled people, and operates from the Social Model of Disability. DPAC was formed by a group of disabled people after the 3rd October 2010 mass protests against cuts in Birmingham, England. The 3rd October saw the first mass protest against the austerity cuts and their impact on disabled people - It was led by disabled people under the name of The Disabled Peoples' Protest. https://dpac.uk.net/ ALLFIE ALLFIE is a Disabled people-led organisation, which seeks to build alliances with individuals and organisations who share their vision. They successfully work with Disabled learners and parents and carers across a very wide range of educational needs, backgrounds and experiences and gain strength from that diversity. Their relationships and influence stretch over a wide range of networks and alliances interested in education, inclusion, Disabled children's services, Disabled people's rights and equality, and human rights more generally. They have an impressive track record in successfully influencing change and a positive reputation nationally and internationally. https://www.youtube.com/watch?v=HJWDUmYv2iY Instagram: @disabledpeopleagainstcuts Katouche Goll   Katouche Goll is a disability activist and writer. She is passionate about fostering a productive dialogue about the intersection of Black and disabled identities. A recent first-class grad in BA History, Katouche enjoys sharing the knowledge of her degree through her advocacy for Black disabled young people. Featured on platforms such as Buzzfeed (2016), Kandaka (2017), BBC Radio 1Xtra (2018), TABOU Magazine and BlackBallad (2020). Katouche is also a makeup enthusiast who creates online content to promote diversity in beauty and highlight issues of inclusion. Instagram: @itskatouche

On Practice: Cooking asks how cooking can bring people together and provide nourishment and care? What are the ways that cooking together can open up difficult conversations - about racism, colonialism and migration?  This episode highlights artist Jasleen Kaur's collaboration with women from the Portman Early Childhood Centre through the Changing Play project Everyday Resistance, and includes Yogyakarta based artist and researcher Elia Nurvista's reflections on food and power, and researcher and cook Fozia Ismail speaking about food as resistance. On Practice is produced by Reduced Listening. Image Credit: Joy Yamusangie.  Show Notes Over the last year through the pandemic, we've seen more than ever how our individual actions impact others, how we're all interdependent. This three-part podcast series explores the practices that can sustain us individually and collectively – Cooking, Listening and Walking - and how they can be used to bring people together to work towards change. Hosts Amal Khalaf and Alex Thorp welcome artists, collaborators and friends to explore ideas and projects developed as part of Serpentine's Education and Civic programme, which connect communities, artists and activists to generate responses to pressing social issues. These are projects that have been developed in collaboration with people, centred on the body, the city, and exploring the injustices we experience in our everyday life. Hear from Jasleen Kaur, Elia Nurvista, Fozia Ismail, Ain Bailey, Micro Rainbow, Portman Early Childhood Centre, Ultra-red, Ximena Alarcón, Sam Curtis, Tim Ingold, Voice of Domestic Workers and Katouche Goll. Each of the three episodes are accompanied by an exercise, kindly shared by the artists, an invitation to join their practice. Jasleen Kaur was born in Glasgow and is now based in London. Her work is an ongoing exploration into the malleability of culture and the layering of social histories within the material and immaterial things that surround us. Her practice examines diasporic identity and hierarchies of history, both colonial and personal. She works with sculpture, video and writing. Recent and forthcoming presentations include exhibitions and projects at the Wellcome Collection, UP Projects, Glasgow Women's Library, Market Gallery, BALTIC Centre for Contemporary Art, Eastside Projects and Hollybush Gardens. Her work is part of the permanent collections of the Government Art Collection, Touchstones Rochdale and the Crafts Council. https://youtu.be/1j5XreNGtYk?t=1644  https://www.serpentinegalleries.org/whats-on/everyday-resistance/  Instagram: @_jasleen.kaur_ Fozia Ismail, scholar, cook and founder of Arawelo Eats, a platform for exploring politics, identity and colonialism through East African food. Ismail is a researcher writing about race and British identity and has spoken at the Oxford Symposium on Food & Cookery, designed workshops with Keep It Complex, Jerwood Project Space and the Museum of London using food as a method to think through issues around race and empire in Britain today. Fozia is also part of Dhaquan Collective, a feminist art collective of Somali women, centering the voices of womxn and elders in the community, and privileging co-creation and collaboration. She was a City Fellow for the Arnolfini, Bristol in 2019.  Her work has been published and featured in a range of media including Observer Food Magazine, Oxford Symposium on Food & Cookery and BBC Radio 4 Food Programme.   https://www.dhaqan.org/  https://www.serpentinegalleries.org/whats-on/radical-kitchen-2018-fozia-ismail-chilli/ https://www.araweloeats.com/  https://oxfordculturalcollective.com/fozia-ismail-food-as-resistance/  https://www.youtube.com/watch?v=3BfCuBZdhlc&list=PLbP2rruaw4OvyHmG5tYtqgtJ67xIJ5rOf&index=1  Instagram: @arawelo_eats Elia Nurvista is an artist who lives and works in Yogyakarta, Indonesia whose practice focuses on food production and distribution and its broader social and historical implications. Food in various forms — from the planting of crops, to the act of eating and the sharing of recipes — are Nurvista's entry point to exploring issues of economics, labour, politics, culture and gender. Her practice is also concerned with the intersection between food and commodities, and their relationship to colonialism, economic and political power, and status. She runs Bakudapan, a food study group that undertakes community and research projects, and her social research forms the background of her individual projects, presented through mixed media installations, food workshops and group discussion. Her previous installations use a range of materials from crystalline sugar sculptures to sacks of rice, often incorporating video or mural painting and an element of audience interaction. www.elianurvista.com www.bakudapan.com Instagram: @elianurvista

Wendy is a researcher in the field of design anthropology whose written work, research and design practices have contributed to the foundation of what we now perceive as design anthropology. She holds an MA and a PhD in Social Anthropology both at the University of Manchester. She taught at architecture department at the University of Strathclyde in Scotland. From 2005-2017 she was Associate Professor of design anthropology at University of Southern Denmark. Subsequently, she has held teaching and research positions in Australia, Belgium, USA and China. As a researcher, Wendy has cross-disciplinary expertise in design, architecture and anthropology and significant experience of conducting collaborative research as part of multidisciplinary design teams involving both public and private sectors. Central to her research is a close connection between theory and practice, research and teaching. She has developed research insights into how collaborative processes work as well as how anthropology can play an important role in design, whether in product, architectural and engineering design. Wendy's publications explore such processes through ethnographic documentation of design experimentation and analysis of emergent properties, involving learning, imagination and cooperation.In today's episode we talk to Wendy about her experience of shaping design anthropology and the ways collaborative research practices in this emerging field have evolved. How does she reconcile the designer, architect and anthropologist that dwell within her? In what ways has the cross-disciplinary collaboration given Wendy strength to navigate different kinds of design processes and practices? We inquire about the challenges and difficulties that this navigation sometimes implies. We reflect on research as a future making practice and on ways of being a researcher within that space. We close with stimulating questions and a research case: how do you conduct fieldwork without actually being there?  How can you as a researcher make research practices more sustainable? and how do you engage astronauts  in carrying out anthropological research? Mentioned in podcast:Tim Ingold, https://en.wikipedia.org/wiki/Tim_IngoldSara Green, https://en.wikipedia.org/wiki/Sarah_Green_(anthropologist)Sarah Pink, https://research.monash.edu/en/persons/sarah-pinkKaren Barad, https://en.wikipedia.org/wiki/Karen_BaradKathleen Stewart, https://journals.sagepub.com/doi/10.1068/d9109Jacob Buur, https://portal.findresearcher.sdu.dk/en/persons/buurChristian Clausen, https://vbn.aau.dk/en/persons/100768

A look at the first section of Tim Ingold’s book “The Perception of the Environment: Essays on Livelihood, Dwelling and Skill”. Topics include education of attention, the role of culture in sports, attending vs controlling one’s environment, and showing vs telling as a coach.   The Perception of the Environment   More information: http://perceptionaction.com/ My Research Gate Page (pdfs of my articles) My ASU Web page Podcast Facebook page (videos, pics, etc)   Subscribe in iOS/Apple Subscribe in Anroid/Google   Support the podcast and receive bonus content   Credits: The Flamin' Groovies - Shake Some Action Mark Lanegan - Saint Louis Elegy via freemusicarchive.org and jamendo.com

Sprache unterscheidet sich grundsätzlich von Musik, ebenso das Schreiben vom Zeichnen. Das scheint uns heute selbstverständlich zu sein. Aber warum? Der Anthropologe Tim Ingold hat dazu eine erstaunliche These: Es liegt am Geradewerden von Linien. Von Andrea Roedig www.deutschlandfunkkultur.de, Lesart Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Sprache unterscheidet sich grundsätzlich von Musik, ebenso das Schreiben vom Zeichnen. Das scheint uns heute selbstverständlich zu sein. Aber warum? Der Anthropologe Tim Ingold hat dazu eine erstaunliche These: Es liegt am Geradewerden von Linien. Von Andrea Roedig www.deutschlandfunkkultur.de, Lesart Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Chloé Moglia est danseuse, trapéziste et directrice artistique de la compagnie Rhizome. Dans cet épisode du Book Club, la performeuse s’enregistre à une heure du matin dans sa campagne bretonne. Cette nuit-là, elle se confie sur le livre : Une brève histoire des lignes de l'anthropologue anglais Tim Ingold. Un ouvrage qui lui a permis d’explorer sa pratique de la suspension et progresser sur son fil d’une manière différente dans ses spectacles aériens : “C’est un livre qui m’a mis dans des états de joie complètement dingue. Tim Ingold se donne la liberté de rassembler des choses que je n’avais vu personne rassembler”.Cette “promenade” propose une réflexion sur les lignes qu’on ne voit pas, et qui sont omniprésentes dans notre quotidien. Elle démêle les relations entre des actions banales comme marcher, chanter ou encore écrire, et considère que tout ce qu’on fait s’apparente à faire des lignes : “C'est un peu bizarre comme ça. Mais ça ouvre au fait que, quand on se balade dans la forêt ou qu'on fait un trajet dans une ville, le trajet est une ligne. On dessine une ligne”.Une ouverture sur le monde qui permet de penser la vie comme un ensemble d’éléments homogènes et inséparables qui constituent un tout : “Il met ensemble des orages et des limaces, ça m’a fait rire ! (...) C’est comme ci ça remettait le monde ensemble. Ça tisse des liens. Ça relie. Ça fait une religion de lignes”. Le dernier spectacle de Chloé Moglia cosigné avec Marielle Chatain s’appelle L’Oiseau Lignes. Cette œuvre joue avec ce principe de continuité dans l’espace : “A l'époque, quand je faisais du trapèze, il y avait les figures, et tout ce qui se trouvait entre les figures était très embêtant. Finalement, ce que j'appelle désormais la suspension, ce n'est fait maintenant que de ce qui était entre les figures”. Elle sera présentée au CENTQUATRE-PARIS dans le cadre du festival Les Singulier.e.s. Un festival qui met à l’honneur des créations transdisciplinaires et dont le Book Club est partenaire. Ces prochaines semaines, vos épisodes du Book Club donnent la parole à des créatrices programmées dans ce festival. Plus que jamais aujourd’hui, il est important de soutenir la culture.Le Book Club est un podcast présenté par Agathe Le Taillandier. Maud Ventura a envoyé le questionnaire de cette interview à Chloé Moglia. Maud Benakcha est à l’édition et à la coordination du Book Club. Elle a par ailleurs réalisé le montage de cet épisode. Jean-Baptiste Aubonnet en a fait le mixage. Mélodie Lauret et Antoine Graugnard ont composé la musique du podcast. Cet épisode est également rendu possible grâce à Maureen Wilson, responsable éditoriale, Marion Girard, responsable de production, Mélissa Bounoua, directrice des productions et Charlotte Pudlowski, directrice éditoriale. Le Book Club est une production de Louie Media.La retranscription de cet épisode est disponible ici. See acast.com/privacy for privacy and opt-out information.

In this episode of War Machine, Matt Valler and Matt Baker speak with British Anthropologist Tim Ingold about education during covid, writing, 'interfacing' vs 'facing-between', the downside of agency, animism, the imagination, the task of anthropology, and so on. Check out Tim's Amazon author page: https://www.amazon.com/Tim-Ingold/e/B001ITWVXQ?ref=sr_ntt_srch_lnk_1&qid=1607786123&sr=8-1 Here are some his talks that may be of interest: https://www.youtube.com/results?search_query=tim+ingold Matt Valler's website: https://mattvaller.com/ Entheosdesigns.net

Dans ce huitième épisode enregistré au festival Incadaques, nous parlons de photographie plurielle ! De nos jours, les images sont souvent mélangées au texte, à la musique, au collage, à la peinture etc. On réaffirme la matérialité de l’image pour lui donner plus de poids. Pourquoi cette hybridation des pratiques est omniprésente dans les lieux d’expositions ou dans la pratique artistique aujourd’hui ? Pour tenter de répondre à cette question, nous allons avoir le point de vue de deux photographes exposées à Cadaques : Henrike Stahl et Morvarid K. Références évoquées pendant l’épisode : Roman Opalka, Michel Poivert, "Une brève histoire des lignes" de Tim Ingold. Morvarid K : https://www.instagram.com/morvaridk.art Henrike Stahl : https://www.instagram.com/henrikestahl Notre Instagram : https://www.instagram.com/podcastvisions/

For Tim Ingold, imagining dissolves the boundaries between future and past. In his writings, imagination cannot be independent from perception and memory. Against the idea that finite futures are coming directly at us, Ingold locates imagination as an activity, technique and subject as part of everyday life, at the cusp of the continual creation of our world. Watch the video talk with subtitles (EN, LV, RU): http://bit.ly/TimIngoldtalk RIBOCA2 Public programmes Associate Curator - Sofia Lemos. Podcast made in collaboration with tirkultura.net

Conversations avec...un article. C'est 10-15 minutes où je rends compte d'un article scientifique récent paru dans une revue en sciences humaines et sociales. Episode 12 : l'art des pickpockets. L'article original : Witold M Wachowski, "What it is like to be a pickpocket", Culture & Psychology, décembre 2019. --------- Le film sur lequel s'appuie l'auteur de l'article pour construire sa proposition théorique : "Pickpocket" de Robert Bresson (1959). La scène d'ouverture du film disponible sur YouTube : https://www.youtube.com/watch?v=j-5J5NiWFks --------- les références mobilisées par l'auteur et implicitement ou explicitement utilisées dans le podcast : Alan Costall, Canonical affordances in context. Avant, 2(3), 2012, p. 85–93. James Gibson, The ecological approach to visual perception. Boston, MA, Houghton Mifflin, 1979. Edwin Hutchins, Cognitive ecology. Topics in Cognitive Science, 2(4), 2010, p. 705–715. David Kirsh, "The intelligent use of space", Artificial Intelligence, 73(1–2), 1995, p. 31–68. Nancy J. Nersessian, "The cognitive-cultural systems of the research laboratory", Organization Studies, 27(1), 2006, p. 125–145. --------- Pour aller (un peu) plus loin : **Sur les théories externalistes de la cognition** : Christiane Chauviré, "Y'a-t-il un sens à situer spatialement la pensée ? Peirce, Wittgenstein et les signes", Intellectica, 2012, 1, 57, p. 101-114. Bernard Conein, "Cognition distribuée, groupe social et technologie cognitive", Réseaux, janvier, 124 (2), p. 53‑79. Tim Ingold, "Confession of a semiophobe" dans Geremia Cometti, Pierre Le Roux, Tiziana Manicon, Nastassja Martin (dir.), Au seuil de la forêt. Hommage à Philippe Descola. L'anthropologue de la nature, Totem, 2019. Marc Jahjah, "Usages et pratiques : quelles différences (2/7) Mead et l'interactionnisme symbolique", 2013, en ligne : http://www.marcjahjah.net/532-usages-pratiques-differences-23-mead-linteractionnisme-symbolique Timo Maran, "La sémiotisation de la matière. Une zone hybride entre l'écocritique matérialiste et la biosémioétique", Cygne noir, 5, 2017. Simone Morgagni, "Affordances as Possible Actions: Elements for a Semiotic Approach", Proceedings of the 10th World Congress of the International Association for Semiotic Studies, Universidade da Coruña, Spain, 2012, p. 867-878. Donald A. Norman, "Les artefacts cognitifs" dans Bernard Conein et al (dir.), Les Objets dans l'action. De la maison au laboratoire, Paris, Éditions de l'EHESS, p. 15-34. Anthony Pecqueux, "Les affordances des événements : des sons aux événements urbains", Communications, n° 90(1), 2012, p. 215‑227. John Pickering, "Affordances are signs", TripleC, 2004 Louis Quéré, "Action située et perception du sens" dans Michel de Formel et Louis Quéré (dir.), La Logique des situations. Nouveaux regards sur l'écologie des activités sociales, Éditions de l'EHESS, 1999. Erik Rietveld et Julian Kiverstein, "A Rich Landscape of Affordances", Ecological Psychology, 26(4), 2014, p. 325‑352. **Sur la cognition** : Thérèse Collins, Daniel Andler et Catherine Tallon-Baudry, (dir.), La Cognition. Du neurone à la société, Gallimard, 2018. Bernard Lahire et Claude Rosental (dir.), La Cognition au prisme des sciences sociales, Éditions des archives contemporaines, Éditions des archives contemporaines, 2008. **Sur le possible** : Stéphane Chauvier, Le sens du possible, Vrin, 2010. Quentin Deluermoz et Pierre Singaravelou, Pour une histoire des possibles. Analyses contrefactuelles et futurs non advenus, Points, 2019. Françoise Lavocat éd., La théorie littéraire des mondes possibles, Paris, CNRS Editions, 2010. **Sur l'expérience, le faux, l'erreur** : Christiane Chauviré et Albert Ogien (dir.), Dynamiques de l'erreur, Éditions de l'EHESS, coll. "Raisons pratiques", 2009. Ervin Goffman, Les Cadres de l'expérience, Éditions de Minuit, 1991 [1974]. Jean-Pierre Vernant et Marcel Détienne, Les Ruses de l'intelligence, Flammarion, 1974.

For show notes please see www.paulmoseley.org/podcast

TOAST, https://www.toa.st, is a clothing and lifestyle brand that aspires to a slower, more thoughtful way of life. This season we have been examining our relationship with the line. Following the marks we make through writing and weaving and tracing the lines that shape our landscape, from telegraph lines and washing lines to those made by walking, railways and rivers. For this special episode, we delve into the subject further. Down the telephone line from Aberdeen, we hear Tim Ingold, academic and author of A Brief History of Lines. Tim takes us through his discoveries surrounding the line, suggesting that we are all interwoven and interconnected by drawing on archaeology, language, music and nature. In a lively London square, during early March, Laura Barton speaks to Max Porter, acclaimed author of Grief is the Thing with Feathers and Lanny. Max is known for his intermingling of prose and poetry, for his physical exploration of the line on the page. Both speakers give an insight into their own relationship with the line, seeing it as an entry into how we might better live our lives. TOAST Podcasts are presented by Laura Barton, produced by Geoff Bird and conceived by Emily Cameron. The music is part of TOAST Slow Sound, the full album can be heard at https://www.toa.st/uk/content/features/slowsound.htm.

Conversations avec...un article. C'est 10-15 minutes où je rends compte d'un article scientifique récent paru dans une revue en sciences humaines et sociales. Épisode 5 : Le recours aux drones pour préserver les écosystèmes fragiles et tous les "pièges" générés par ce recours. L'article original : Adam Fish, "Crash Theory: Entrapments of Conservation Drones and Endangered Megafauna", Science, Technology, & Human Values, mars 2020. --------- Les autres références universitaires citées dans l'article et mobilisées dans le podcast : Karen Barad, Meeting the Universe Halfway : Quantum Physics and the Entanglement of Matter and Meaning, Durham, Duke University Press, 2007. Donna Haraway, "Staying with the Trouble for Multispecies Environmental Justice", Dialogues in Human Geography, 8 (1): 2018, p. 102-105. Ian Hodder et Angus Mol, "Network Analysis and Entanglement" Journal of Archaeological Method and Theory 23 (1), 2016, p. 1-29. Steven J. Jackson, "Rethinking Repair" dans Tarleton Gillespie, Pablo J. Boczkowski, and Kirsten A. Foot (des), Media Technologies: Essays on Communication, Cambridge, MIT Press, 2014, p. 221-40. --------- Pour aller plus loin : **Sur l'écologie** : H.-S. Afeissa, Ethique environnementale. Nature, valeur, respect, Librarie Philosophique J. Vrin, Paris, 1744. Roberto Barbanti et Lorraine Verner (des), Les Limites du vivant, Paris, Éditions Dehors, 2016. Deborah Bird Rose, Vers des humanités écologiques, Wilproject, 2010. Geremia Cometti et al., Au seuil de la forêt. Hommage à Philippe Descola. L'anthropologie de la nature, Mirebeau-sur-Bèze, Totem, 2020. Philippe Descola et Tim Ingold, Etre au monde : quelle expérience commune, Presses Universitaires de Lyon, 2014. Viviane Despret, Habiter en oiseau, Arles, Actes Sud, 2019. Emilie Hache (eds), Reclaim. Recueil de textes écoféministes, Éditions Cambourakis, Paris, 2016. Edouardo Kohn, comment pensent les forêts, Z/S, Paris, 2017. Alert Piette, Contre le relationnisme. Lettre aux anthropologues, Le Bor de l'eau, 2014. Marin Schaffner, Un sol commun. Lutter, habiter, penser, Wildproject Éditions, 2019. Charles Stéphanoff, Voyage dans l'invisible. Techniques chamaniques de l'imagination, Paris, 2019. **Sur les pannes, les erreurs, les infrastructures** : Jonathan Chibois, "Le vote électronique à l'Assemblée. Prévenir et contenir la panne en République", Techniques & Culture. Revue semestrielle d'anthropologie des techniques, 2019. Adresse : http://journals.openedition.org/tc/13224 [Consulté le : 20 avril 2020]. Christiane Chauviré, Albert Ogien et Louis Quéré (dir.), Dynamiques de l'erreur, Éditions de l'EHESS, 2009. Jérôme Denis, Le travail invisible des données. Eléments pour une sociologie des infrastructures scripturales, Paris, Presses des Mines, 2018. Jérôme Denis et David Pontille, "Travailleurs de l'écrit, matières de l'information", Revue d'anthropologie des connaissances, 61(1), 2012, p. 1‑20. **Sur l'ontologie, les théories du social et du réel** : Emmanuel Alloa et Elie During (dir.), Choses en soi. Métaphysique du réalisme, Paris, Métaphysiques, 2018. Iona Vultur, "Une ontologie distribuée des faits sociaux" dans Iona Vultur, Comprendre. L'herméneutique et les sciences humaines, p. 199-209. Pierre Liet et Ruwen Ogen, L'Enquête ontologique. Du monde d'existence des objets sociaux, Éditions de l'EHESS, coll. "Raisons pratiques", 2000. Pierre Livet et Frédéric Nef, Les êtres sociaux: Ontologie des processus et virtualité du social, Paris, Hermann, 2009.

In the final DTM podcast Peter talks to Elisa Giaccardi, Professor of Interactive Media Design at IDE, about what design methods will look like in the future. They talk about how artificial intelligence and machine learning are changing the design process from something that is ‘user-centred’ into something much more dynamic. Elisa introduces the idea of how humans and computers can design together through ‘co-performance’. They also touch on the ethical issues involved when dealing with non-human intelligences.The interview is based on a book chapter by Elisa called ‘Technology and More than Human Design’ which explores how technology is impacting the design process. She mentions her PhD supervisor Roy Ascott, who has been a strong influence on many well-known designers and artists throughout the world. On page 6 of his book ‘Art, Technology, Consciousness’ he talks about the idea of ‘seeding’ that Elisa refers to. She also quotes from the much-cited social anthropologist Tim Ingold, who writes in his book ‘Correspondences’ about different modes of interaction between humans and non-humans. Ingold has published many interesting books touching on the cultural and contextual aspects of designing.In the discussion Mieke mentions the work of John Seely Brown, who was director of the world-famous Xerox Palo Alto Research Centre (PARC). In a video titled Sense-making in our Post AlphaGo World he explores the “rapidly changing, broadly connected and radically contingent world and the lenses needed to frame, or reframe, the challenges that technological advances have pushed forward”.Peter also mentions an idea called ‘negative capability’, the ability to embrace uncertainty and be comfortable in situations of ambiguity. The idea originally comes from the Romantic Poet John Keats! This short blog post provides more context and further links to explore the subject if you are interested.

The 1947 British film Black Narcissus is many things: an allegory of the end of empire, a chilling ghost story with nary a spook in sight, a psychological romance, and a meditation on the nature of the divine. Its weirdness is as undeniable as it is difficult to locate. On the surface, the story is straightforward: five nuns are tasked with opening a convent in the former seraglio of a dead potentate in the Himalayas. But on a deeper level, there is a lot more going on, as Phil and JF discover in this conversation touching on the presence of the past, the monstrosity of God, the mystery of the singular, and the eroticism of prayer, among other strangenesses. REFERENCES Michael Powell and Emeric Pressburged (dirs.), Black Narcissus (https://www.imdb.com/title/tt0039192/) Rumer Godden (https://en.wikipedia.org/wiki/Rumer_Godden), author of the original novel Stanley Kubrick, The Shining (https://www.imdb.com/title/tt0081505/) Gilles Deleuze, [Difference and Repetition](https://en.wikipedia.org/wiki/DifferenceandRepetition) Tim Ingold (https://en.wikipedia.org/wiki/Tim_Ingold), British anthropologist -- lecture: "One World Anthropology" (https://www.youtube.com/watch?v=iEWS89dd9nM) Jonathan Demme (dir.), The Silence of the Lambs (https://www.imdb.com/title/tt0102926/) Pierre Bourdieu (https://en.wikipedia.org/wiki/Pierre_Bourdieu), French sociologist Bruno Latour, On the Modern Cult of the Factish Gods (https://www.dukeupress.edu/on-the-modern-cult-of-the-factish-gods) Don Barhelme (https://en.wikipedia.org/wiki/Donald_Barthelme), American short story writer Paul Ricoeur (https://plato.stanford.edu/entries/ricoeur/), French philosopher Weird Studies episode 16 (https://www.weirdstudies.com/16): On Dogen Zenji's Genjokoan The King and the Beggar Maid (https://en.wikipedia.org/wiki/The_King_and_the_Beggar-maid) Gillo Pontecorvo, [The Battle of Algiers](https://en.wikipedia.org/wiki/TheBattleofAlgiers)_ “Painting with Light,” (https://www.youtube.com/watch?v=tuwU_f42dUk) featurette on the Criterion Collection DVD of Black Narcissus

Tim Ingold (2000), Perception of the EnvironmentKeith Basso (1996) Wisdom Sits in PlacesFollow me on twitter: @vivianasimos

Tim Ingold (2000), Perception of the EnvironmentKeith Basso (1996) Wisdom Sits in PlacesFollow me on twitter: @vivianasimosCheck out my website: god-mode.org

Tim Ingold, Professor of Social Anthropology at University of Aberdeen, talks to Ben Spatz about the difference between anthropology and ethnography, the importance of collaboration, skilled practice and playing the cello, why he finds the idea of the body problematic, and why he thinks of people as human becomings rather than beings.

Cymene and Dominic talk corporate irresponsibility—looking at you ITC and Boeing—on this week’s podcast. Then (13:44) we welcome the legendary Tim Ingold to the conversation. We start by talking about his new book, Anthropology: Why it Matters (Polity Press, 2018) and Tim explains why he thinks the practice of science should be grounded in art. We move from there to the importance of amateurism, how much impact phenomenology has had upon Tim’s thinking about biosocial being, and why he wanted to write a manifesto about anthropology’s relevance today. We engage his arguments that anthropology’s attention to different ways of thinking and being in the world are crucial speculative resources and how overcoming the conventional concept of inheritance might be the key to overcoming the opposition between the biological and the social. We turn from there to understanding life as a constant flow of re/productive activity and the temporal and performative basis of shared imagination. That leads us to his second recent book, Anthropology and/as Education (Routledge, 2018) in which Tim pushes back against the idea that education is about the transmission of information. From there we talk about what fascinates him about architecture, how to think about creation beyond the imposition of form on to matter, process ontology and why clouds are not furniture of the sky. We close on the Anthropocene and how Tim views the goal of sustainability not as solving all problems for all time but of giving each generation the possibility of starting afresh.

This week we tackle a big question with my guest Tim Ingold: what's the point of anthropology? Tim tells me: ‘Anthropology should be an ethical project which is dedicated to… Read More Hosted on Acast. See acast.com/privacy for more information.

Episode 3 of Our Chance of Becoming Human - an audio scrapbook charting the journey of a PhD that's exploring how creating music together can have an effect on social integration. This episode bounces around finding connections between the work of feminist philosopher Adriana Cavarero, social anthropologist Tim Ingold, and professor of applied and social theatre, James Thompson. And there are a couple of new tunes in there as well.

Aberdeenin yliopiston antropologian professori Tim Ingold kertoo urastaan, ajatuksistaan ja tulevaisuuden suunnitelmistaan. Ingold tunnetaan hyvin filosofisesta ja toiveikkaasta, kielellä leikittelevästä lähestymistavastaan ihmisen olemassaoloon, toimintaan ja suhteellisuuteen ympäristössään. Haastattelun aikana ehdimme myös käsitellä mielikuvitusta, toivoa, tietoa, antropologian ja etnografian eroja, sienirihmastoja ja Sallan kuntaa. The post Elämän muodot ja tieteen tiet – Tim Ingoldin haastattelu appeared first on AntroBlogi.

Research is the pursuit of truth, through practices of curiosity and care. Truth does not mean fact rather than fantasy, but the unison of experience and imagination in a world to which we are alive and that is alive to us. Amidst panic that we have entered a ‘post-truth’ era, however, truth itself risks being devalued even by those who spring to its defence. It is reduced to an objectification that only further exacerbates our sense of separation from the things that concern us. In this climate, the meaning of research has been corrupted beyond recognition. It has become an industry of knowledge production, dedicated not to truth but to novelty and impact. How can art restore research to its proper vocation? – Professor Tim Ingold is the Chair of Social Anthropology at the University of Aberdeen. His latest research and teaching is around the connections between anthropology, archaeology, art and architecture (the '4 As'), conceived as ways of exploring the relations between human beings and the environments they inhabit. Taking a radically different approach from the conventional anthropologies and archaeologies 'of' art and of architecture, which treat artworks and buildings as though they were merely objects of analysis, he is looking at ways of bringing together the 4 As on the level of practice, as mutually enhancing ways of engaging with our surroundings.

The furore around a memo written by Google engineer James Damore, which argued that the relative paucity of female engineers could be explained in part by biology, brought the field of evolutionary psychology (EP) to wider public attention. EP seeks to identify the psychological traits that were adaptive in our evolution, forming part of ‘human nature’, and has been used to explain everything from gender differences to our propensity to eat unhealthy food. But critics argue EP is reductive and dehumanising. Should we reject an evolutionary perspective simply because it throws up some uncomfortable conclusions? Can evolution really explain modern psychology when culture and language appear to be changing at an unprecedented rate? In this edition of Battle Cry, Max Sanderson talks to Professor Tim Ingold, who offers a critical analysis of evolutionary psychology. Professor Ingold will be speaking at the debate From gender to empathy: what can evolutionary psychology tell us? at the Battle of Ideas 2017 on 28 & 29 October at the Barbican in London.

Professor Tim Ingold (University of Aberdeen). Recorded in UCD in February 2012.

Professor Tim Ingold (University of Aberdeen)

Tim Ingold (University of Aberdeen) discusses his current research, on the comparative anthropology of the line, exploring issues on the interface between anthropology, archaeology, art and architecture. Tim Ingold is Professor of Social Anthropology and Head of the School of Social Science at the University of Aberdeen. He has carried out ethnographic fieldwork in Lapland, and has written on the role of animals in human society, on language and tool use, and on environmental perception and skilled practice. His key publications include: Evolution and Social Life (Cambridge University Press), Tools, Language and Cognition in Human Evolution (co-edited, with Kathleen Gibson, Cambridge University Press), The Perception of the Environment (Routledge) and Lines: A Brief History (Routledge).

Tim Ingold (University of Aberdeen) discusses his current research, on the comparative anthropology of the line, exploring issues on the interface between anthropology, archaeology, art and architecture. Tim Ingold is Professor of Social Anthropology and Head of the School of Social Science at the University of Aberdeen. He has carried out ethnographic fieldwork in Lapland, and has written on the role of animals in human society, on language and tool use, and on environmental perception and skilled practice. His key publications include: Evolution and Social Life (Cambridge University Press), Tools, Language and Cognition in Human Evolution (co-edited, with Kathleen Gibson, Cambridge University Press), The Perception of the Environment (Routledge) and Lines: A Brief History (Routledge).