Nationalism,Aesthetic Redemption and Aboriginality

In this paper I analyse some contemporary cultural constructions of the Australian national psyche and how these involve constructions of the otherness of Aboriginality and of modernity. In particular, I am interested in analysing how the spiritualised otherness of Aboriginality is produced and employed within nationalist discourses which are concerned with establishing the cultural integrity and authenticity of Australian culture. Aborigines have became a cultural category to be used within discourses which assign themselves a redemptive function in relationship to curing the ravages inflicted by modernity.     

Selling with the san: Representations of bushman people and artefacts in South African print advertisements

This paper examines the use of visual images of the Bushman peoples (San) and their cultural objects in contemporary South African advertising. As an image is a site of meaning, the relationship between the people represented in the advertisement and the culture for which the advertisement is produced demonstrates strategies of subjection and power. Within the context of the advertisement, I explore the extent to which San people are appropriated by the consumer society and their ritual objects reduced or altered to a Western aesthetic dimension. The contexts and ideas of the producing society determine production of the visual object.

The relationship between the San “artefact” and the advertisement as a work of “art” reflects a dimension of South African social and political processes. Representations of the two juxtaposed societies suggest that the value systems and cultural attitudes of the dominant group present contested domains which are explored. Bushmen represent a malleable signifier which is used to promote an apparently/ ostensibly applied vision of an emerging non‐racial country.     

Real People: Authenticity and Aboriginality in the Australian Holistic Milieu

For many alternative spiritualists, it is axiomatic that indigenous peoples offer a radical alternative to Western materialism and alienation. Such a vision served some of the Australian alternative spiritualists in this research as both an auto-critique of modernity and a profound truth that could serve a range of personal and political projects. In practice, however, faith in this vision had to be reaffirmed in the face of Australian Aboriginal people who did not match the ideal. Maintaining faith in a useable Aboriginal alterity thus required negotiating the tensions between competing constructions of the genuine as either personal authenticity, adherence to tradition, or genealogical essence. Indeed, it was the movement between these different iterations of authenticity that ensured that the search for the real maintained its value as a framework for self-making at the same time as it tied Aboriginal people to a restrictive notion of culture and personhood.     

The Field of Art Production and Western Desert Acrylics1

Following the logic of Bourdieu's notion of ‘field’, acrylic art production in the Western Desert of Australia is positioned as a sub‐field in the field of Western art production. The significance of the cultural identity of the producer subordinates Western Desert acrylic art within the field and the shift in the criteria of legitimation constitutes it as a sub‐field. The capital at stake in the sub‐field of Western Desert acrylic art is differentiated and contingent upon legitimation of authenticity as defined by the Western field of art production. This capital is constituted through the positioning of Western Desert acrylics within the field of art production and is a manifestation of the struggle to maintain domination within the field.     

Signature work: Bandung, 1994

Recent statements on globalization, the social life of objects, and the open‐endedness of self‐definition offer fresh angles of approach in the ethnographic apprehension of contemporary art worlds. They are brought together here in an exploration of art forgeries, connoisseurship, value, and exchange in Bandung, Indonesia. Modernist ideas about art, authenticity, and painterly subjectivity not only inform the expert systems that oversee the ‘artness of art’ but also give rise to troubling anxieties and desires associated with ‘originals’ and fakes.’ The efforts of Indonesian painter A. D. Pirous to prevent forgeries of his work from reaching the market throw special light on the difficulties experienced in containing the illusions and confusions of art value. The predicaments are both intimate and global in dimension.     

Picking at the Paint: Viewing Contemporary Bushman Art as Art

In most writing on contemporary Bushman art the art is discussed as a tool of development, a tourism endeavor and an income generator. While these are aims both legitimate and beneficial to the communities involved, they also work (implicitly yet effectively) to separate the art, artist and subsequently the community out of which the art is produced from “the rest of us,” defining these communities as “other.” This article attempts to engage with contemporary Bushman art as art objects. Using criteria of judgment based on a functional semiotics of art, two works will be analyzed to prove that the works may be discussed as Art. The premise is that once people recognize the aesthetic intelligence imbued in these artworks they will be able to engage with the work in a way that is similarly intelligent and contemporary. The art and its people will then stand a better chance of being accepted into the realm of the everyday as opposed to being relegated to the sarcophagi of history. Once taken from this starting position, goals of community development and tourism endeavors linked to indigenous art can become that much more beneficial and life-changing for the communities concerned.     

Tourist Aesthetics in the Global Flow: Orientalism and “Warrior Theatre” on the Swahili Coast

In this article I bring together two strands of history, namely a longstanding Swahili Coast mercantilism seen in the context of a very permeable ocean frontier, and the much more recent experience of modernity, in some kind of mutual dialogue which engages both global and local outcomes. The broad topic I explore is the development of the Swahili Coast as a tourism “destination” in the late twentieth century. As an art historian, I am particularly interested in the effects of this latest invasion of foreigners (at its peak in the mid-1980s, though lately slowed to a trickle) on material culture, and on the production of identities through its objects and the artists (some of them indigenous and some not) who make them.     

河南淇县宋庄东周墓地人骨稳定同位素分析——东周贵族与殉人食谱初探

淇县宋庄东周墓地出土贵族和殉人骨骼遗存的稳定同位素分析是国内首例针对东周社会分化背景下不同社会阶层先民开展的食谱研究.稳定碳氮同位素分析结果表明,贵族阶层在主粮和肉食方面与殉人群体明显不同.贵族几乎完全以粟为主粮,食物中肉类含量很高;而殉人阶层整体食肉水平较低,主粮的内部差异显著,大部分个体都不同程度的食用了当时不受青...     

Art mobilier magdalénien en matières dures animales de Moravie (République tchèque). Aspects technologique et stylistique

The Magdalenian techno-complex evolved in Western Europe and Central Europe between 17-12 kyr BP, concentrated in Spain on the Cantabrian Coast and in France in Pyrenees and Dordogne, in Central Europe in Poland and Moravia. In our study we analyse portable art on hard animal tissues from Moravian sites (Pekárna, K?í?ova, Rytí?ská), Czech Republic. Comparative material was provided by sites in South-western France (Laugerie, Basse, Enlène). The results of the technological, stylistic and typological comparisons confirm our hypothesis that the Magdalenian portable art from sites in Moravia belong to the Magdalenian techno-complex. The comparison of typological objects in Moravia, like decorated bone disc, pendants, Venus, bâton percé, spatule, shows that their variability is well in the range expected for techno-complex. The same technological pattern can be found between typological objects of spatule as a technology of decoupage but which is applied on different anatomical parts of animal raw material. We discussed the question about local origin of the objects. Technological comparison shows that engraving and bas-relief are more frequent in Moravia than in South-western France sites. This can be explained as a regional based preference of technology for expression of different subjects of mobile art, but also as a possible bias due to small sample size and differences in sampling of our studied objects. Engraving present similar technological characteristics that are featured in both areas. Design, like organization of space and size of the engraving, can be interpreted as an existence of contact between both groups and presence of one Magdalenian techno-complex.     

Māori Culture on Stage: Authenticity and Identity in Tourist Interactions1

Cultural tourism is often described as inciting visited populations to adapt elements of their culture to the visitors' tastes instead of displaying their real way of life or identity. Even when researchers adopt a constructivist approach to authenticity, they often assume that it is defined according to the criteria or expectations of the tourists. In this paper, I analyse three Māori cultural shows in New Zealand, and explore the way cultural authenticity is defined in tourist interactions. I review the arguments in favour of rejecting the opposition between ‘inauthentic’ staged culture and ‘authentic’ daily life. My study tends to indicate that if authenticity is better described as a social construction, the host society might be more active in this process than visitors.     

Les origines de l’art et les théories sur l’évolution humaine : le cas français

In recent years, we have witnessed an international debate about the question of the origins of art. On the one hand, some specialists have suggested that art appeared for the first time at the beginning of the Upper Paleolithic associated to the emergence of Homo sapiens sapiens. From this point of view, Paleolithic art as well as other hallmarks of behavioral modernity were exclusive to anatomically modern humans. On the other hand, some scholars have put into question the traditional paradigm concerning the origins of art and have suggested that artistic objects arose over a long period of time among different species, including Neanderthals. In order to contextualize this debate, we analyze in this article the history of the different interpretations and controversies concerning the question of the origins of art. Taking as reference the French case, we examine the connections between the different theories about art's origins suggested by Pleistocene art specialists during the last century and the dominant paradigms in human paleontology during the same period. Informed by one another, the question of the origins of art and that of human evolution seems to be inextricable linked.     

Giving Voice to Children's Voices: Practices and Problems, Pitfalls and Potentials

In this article, I explore the lessons that the anthropological debates of the 1980s about writing culture might have for contemporary childhood research within anthropology and the social sciences more generally. I argue that the current rhetoric about "giving voice to children," commonplace both inside and outside the academy, poses a threat to the future of childhood research because it masks a number of important conceptual and epistemological problems. In particular, these relate to questions of representation, issues of authenticity, the diversity of children's experiences, and children's participation in research, all of which need to be addressed by anthropologists in their own research practices with children. Unless anthropologists do so, childhood research risks becoming marginalized once more and will fail to provide an arena within which children are seen as social actors who can provide a unique perspective on the social world about matters that concern them as children.     

Reconsidering Witchcraft: Postcolonial Africa and Analytic (Un)Certainties

African notions of witchcraft are neither archaic nor static but are highly flexible and deeply attuned to the conundrums of our contemporary world. Many anthropologists have recently argued that notions of the African witch provide commentaries on the meaning and merit of modernity as experienced in different historical and cultural settings. By exploring one particular type of witchcraft —that involving rain—amongst the lhanzu of Tanzania, this article suggests instead that some forms of witchcraft may be more pertinent to understanding local notions of "tradition" than "modernity." It is argued that the process of identifying rain witches provides lhanzu men and women with a way to circumscribe, contemplate, and, ultimately, reassert the veracity and significance of a conceptual category they call "tradition." The article concludes by critiquing the homogenizing effects of terms like the African witch and African witchcraft, compelling us to think in terms of pluralities rather than singulars. [Keywords: witchcraft, modernity, tradition, rainmaking, anthropological theory]     

Mitochondrial haplogroup H1 in north Africa: an early holocene arrival from Iberia

The Tuareg of the Fezzan region (Libya) are characterized by an extremely high frequency (61%) of haplogroup H1, a mitochondrial DNA (mtDNA) haplogroup that is common in all Western European populations. To define how and when H1 spread from Europe to North Africa up to the Central Sahara, in Fezzan, we investigated the complete mitochondrial genomes of eleven Libyan Tuareg belonging to H1. Coalescence time estimates suggest an arrival of the European H1 mtDNAs at about 8,000-9,000 years ago, while phylogenetic analyses reveal three novel H1 branches, termed H1v, H1w and H1x, which appear to be specific for North African populations, but whose frequencies can be extremely different even in relatively close Tuareg villages. Overall, these findings support the scenario of an arrival of haplogroup H1 in North Africa from Iberia at the beginning of the Holocene, as a consequence of the improvement in climate conditions after the Younger Dryas cold snap, followed by in situ formation of local H1 sub-haplogroups. This process of autochthonous differentiation continues in the Libyan Tuareg who, probably due to isolation and recent founder events, are characterized by village-specific maternal mtDNA lineages.     

Remaking Body Politics: Dilemmas Over Female Fatness as Symbolic Capital in Two Rural Tuareg Communities

This essay explores nuanced, debated and changing meanings of female fatness as a bodily aesthetic ideal in rural Tuareg communities in northern Niger and Mali. I compare two communities—one where nomadic herding, of longstanding importance among the Tuareg, remains prevalent, and intermarriage is rare between aristocratic and formerly servile persons, and the other where residents have become more settled in hamlets, now garden, and where intermarriage between social categories is frequent. Both communities have experienced conflict with colonial and postcolonial nation-states, but the more nomadic herders have had especially tense relations with French colonial and postcolonial state regimes. Although many oasis residents express greater ambivalence toward female fatness, these communities do not express neatly polarized attitudes but admire it to varying degrees, for different reasons, and attach different meanings to it from their experience of different double-binds over achieving it. Fundamental to understanding these meanings, I argue, are psychosocial dilemmas arising from historical change and regional variation affecting power relationships between persons of aristocratic and those of servile origins, between husbands and wives and between nomadic herders and the nation-state. More broadly, these data show the importance of reversals of power in symbolic capital and suggest more nuanced processes surrounding body politics.     

Culture Modulates Eye-Movements to Visual Novelty

Background

When viewing complex scenes, East Asians attend more to contexts whereas Westerners attend more to objects, reflecting cultural differences in holistic and analytic visual processing styles respectively. This eye-tracking study investigated more specific mechanisms and the robustness of these cultural biases in visual processing when salient changes in the objects and backgrounds occur in complex pictures.

Methodology/Principal Findings

Chinese Singaporean (East Asian) and Caucasian US (Western) participants passively viewed pictures containing selectively changing objects and background scenes that strongly captured participants'' attention in a data-driven manner. We found that although participants from both groups responded to object changes in the pictures, there was still evidence for cultural divergence in eye-movements. The number of object fixations in the US participants was more affected by object change than in the Singapore participants. Additionally, despite the picture manipulations, US participants consistently maintained longer durations for both object and background fixations, with eye-movements that generally remained within the focal objects. In contrast, Singapore participants had shorter fixation durations with eye-movements that alternated more between objects and backgrounds.

Conclusions/Significance

The results demonstrate a robust cultural bias in visual processing even when external stimuli draw attention in an opposite manner to the cultural bias. These findings also extend previous studies by revealing more specific, but consistent, effects of culture on the different aspects of visual attention as measured by fixation duration, number of fixations, and saccades between objects and backgrounds.     

Change,Resistance, Accommodation and Engagement in Indigenous Contexts: A Comparative (Canada–Australia) Perspective

In Australia as in Canada, Indigenous contemporary realities can be approached as locally constituted responses to colonial history and to state policies and agendas. This paper compares the ways two Indigenous groups, former hunters and gatherers, have, since their ‘forced’ settlement, reproduced and transformed their identities and their worlds. The comparison is based on two selected topics: the politics of identity and identification; and local responses to the policies of self-determination/self-management. Considering both Indigenous kin-based socialities and their ontological differences provides clues to a better understanding of Indigenous people's complex practices of resistance and accommodation to, and engagement with, state agendas and the values of modernity and settler society. The two Indigenous groups selected are the Kukatja, an Aboriginal group in Australia's Western Desert, and the Atikamekw, an Indian Nation of north-central Quebec.     

Mind the gap: Encountering contemporary art through play

Knowing how to approach and experience contemporary art is a challenge to many people outside the art world. Emerging contemporary art, as the newest of this genre, is often the most challenging. This article recounts my own early struggles as a researcher in this field, and proposes a way of understanding the interaction between artist, artwork and perceiver based on my observations of how contemporary artists encounter each others' work. I argue that contemporary art, and especially emerging contemporary art, creates a space to play by creating an intentional gap in the physical form and/or the semantic structure of the artwork. The object of play is the co‐investigation of an idea initiated by the artist, facilitated by the form of the work and furthered by the encounter. Play, it is argued, is essential to emerging contemporary art as an activity, a communicative frame and a disposition. I draw from earlier theoretical connections between art, play and liberation, challenging some of these assertions, and bringing others into relevance in the contemporary context.     

Hmong infrapolitics: a view from Vietnam

Drawing upon notions of indigenization of modernity, agency and resistance in the context of an egalitarian society – the Hmong in northern Vietnam – I explore whether agency that is directed at diverting modernization is automatically intentional and patent, whether under certain circumstances it becomes resistance, and whether it is necessarily a project. I suggest the Hmong in Vietnam use infrapolitics while being tactically selective about modernity. I note that agency and the power to act appear and evolve in context and must be studied in relation to the specific circumstances that have formed the acting subjects. My argument relates to Sahlins’ proposition that ‘Local societies everywhere have attempted to organise the irresistible forces of Western World system by something even more inclusive – their own system of the world, their own culture.’     

AUTONOMY AND AUTHENTICITY OF ENHANCED PERSONALITY TRAITS

There is concern that the use of neuroenhancements to alter character traits undermines consumer's authenticity. But the meaning, scope and value of authenticity remain vague. However, the majority of contemporary autonomy accounts ground individual autonomy on a notion of authenticity. So if neuroenhancements diminish an agent's authenticity, they may undermine his autonomy. This paper clarifies the relation between autonomy, authenticity and possible threats by neuroenhancements. We present six neuroenhancement scenarios and analyse how autonomy accounts evaluate them. Some cases are considered differently by criminal courts; we demonstrate where academic autonomy theories and legal reasoning diverge and ascertain whether courts should reconsider their concept of autonomy. We argue that authenticity is not an appropriate condition for autonomy and that new enhancement technologies pose no unique threats to personal autonomy.