Design and Anthropology challenges conventional thinking regarding the nature of design and creativity, in a way that acknowledges the improvisatory skills and perceptual acuity of people. Combining theoretical investigations and documentation of practice based experiments, it addresses methodological questions concerning the re-conceptualisation of the relation between design and use from both theoretical and practice-based positions.
Design and Anthropology challenges conventional thinking regarding the nature of design and creativity, in a way that acknowledges the improvisatory skills and perceptual acuity of people. Combining theoretical investigations and documentation of practice based experiments, it addresses methodological questions concerning the re-conceptualisation of the relation between design and use from both theoretical and practice-based positions. Concerned with what it means to draw 'users' into processes of designing and producing this book emphasises the creativity of design and the emergence of objects in social situations and collaborative endeavours. Organised around the themes of perception and the user-producer, skilled practices of designing and using, and the relation between people and things, the book contains the latest work of researchers from academia and industry, to enhance our understanding of ethnographic practice and develop a research agenda for the emergent field of design anthropology. Drawing together work from anthropologists, philosophers, designers, engineers, scholars of innovation and theatre practitioners, Design and Anthropology will appeal to anthropologists and to those working in the fields of design and innovation, and the philosophy of technology and engineering.
A major contribution to the field, this ground-breaking book explores design anthropology's focus on futures and future-making. Examining what design anthropology is and what it is becoming, the authors push the frontiers of the discipline and reveal both the challenges for and the potential of this rapidly growing transdisciplinary field. Divided into four sections – Ethnographies of the Possible, Interventionist Speculation, Collaborative Formation of Issues, and Engaging Things – the book develops readers' understanding of the central theoretical and methodological aspects of future knowledge production in design anthropology. Bringing together renowned scholars such as George Marcus and Alison Clarke with young experimental design anthropologists from countries such as Denmark, Sweden, Austria, Brazil, the UK, and the United States, the sixteen chapters offer an unparalleled breadth of theoretical reflections and rich empirical case studies. Written by those at the forefront of the field, Design Anthropological Futures is destined to become a defining text for this growing discipline. A unique resource for students, scholars, and practitioners in design anthropology, design, architecture, material culture studies, and related fields.
In recent years announcements of the birth of business anthropology have ricocheted around the globe. The first major reference work on this field, the Handbook of Anthropology in Business is a creative production of more than 60 international scholar-practitioners working in universities and corporate settings from high tech to health care. Offering broad coverage of theory and practice around the world, chapters demonstrate the vibrant tensions and innovation that emerge in intersections between anthropology and business and between corporate worlds and the lives of individual scholar-practitioners. Breaking from standard attempts to define scholarly fields as products of fixed consensus, the authors reveal an evolving mosaic of engagement and innovation, offering a paradigm for understanding anthropology in business for years to come.
This volume brings together a cross-disciplinary group of anthropologists, researchers of craft, and designer-makers to enumerate and explore the diversity and complexity of problem-solving tactics and strategies employed by craftspeople, together with the key social, cultural, and environmental factors that give rise to particular ways of problem solving. Presenting rich, textured ethnographic studies of craftspeople at work around the world, Craftwork as Problem Solving examines the intelligent practices involved in solving a variety of problems and the ways in which these are perceived and evaluated both by makers and creators themselves, and by the societies in which they work. With attention to local factors such as training regimes and formal education, access to tools, socialisation and cultural understanding, budgetary constraints and market demands, changing technologies and materials, and political and economic regimes, this book sheds fresh light on the multifarious forms of intelligence involved in design and making, inventing and manufacturing, and cultivating and producing. As such, it will appeal to scholars of anthropology, sociology, and cultural geography, as well as to craftspeople with interests in creativity, skilful practice, perception and ethnography.
Making and Growing brings together the latest work in the fields of anthropology and material culture studies to explore the differences - and the relation - between making things and growing things, and between things that are made and things that grow. Though the former are often regarded as artefacts and the latter as organisms, the book calls this distinction into question, examining the implications for our understanding of materials, design and creativity. Grounding their arguments in case studies from different regions and historical periods, the contributors to this volume show how making and growing give rise to co-produced and mutually modifying organisms and artefacts, including human persons. They attend to the properties of materials and to the forms of knowledge and sensory experience involved in these processes, and explore the dynamics of making and undoing, growing and decomposition. The book will be of broad interest to scholars in the fields of anthropology, archaeology, material culture studies, history and sociology.
Despite its importance to how humans inhabit their environments, walking has rarely received the attention of ethnographers. Ways of Walking combines discussions of embodiment, place and materiality to address this significant and largely ignored 'technique of the body'. This book presents studies of walking in a range of regional and cultural contexts, exploring the diversity of walking behaviours and the variety of meanings these can embody. As an original collection of ethnographic work that is both coherent in design and imaginative in scope, this primarily anthropological book includes contributions from geographers, sociologists and specialists in education and architecture, offering insights into human movement, landscape and social life. With its interdisciplinary nature and truly international appeal, Ways of Walking will be of interest to scholars across a range of social sciences, as well as to policy makers on both local and national levels.
Why should anthropologists draw? The answer proposed in this groundbreaking volume is that drawing uniquely brings together ways of making, observing and describing. In twelve chapters, a team of authors from the UK, Europe, North America and Australia explore the potential of a graphic anthropology to change the way we think about creativity and perception, to grasp the dynamics of improvisatory practice, and to refocus the study of material culture from ready-made objects onto the flows of materials involved in the generation of things. Drawing on expertise in fields ranging from craftwork, martial arts, and dance to observational cinema and experimental film, they ask what it means to follow materials, to learn movements and to draw lines. Along the way, they contribute to key debates on what happens in making, the relation between design and performance, how people acquire bodily skills, the place of movement in human self-awareness, the relation between walking and imagination, and the perception of time. This book will appeal not just to social, cultural and visual anthropologists but to archaeologists and students of material culture, as well as to scholars across the arts, humanities and social sciences with interests in perception, creativity and material culture.
Making and Growing brings together the latest work in the fields of anthropology and material culture studies to explore the differences - and the relation - between making things and growing things, and between things that are made and things that grow. Though the former are often regarded as artefacts and the latter as organisms, the book calls this distinction into question, examining the implications for our understanding of materials, design and creativity. Grounding their arguments in case studies from different regions and historical periods, the contributors to this volume show how making and growing give rise to co-produced and mutually modifying organisms and artefacts, including human persons. They attend to the properties of materials and to the forms of knowledge and sensory experience involved in these processes, and explore the dynamics of making and undoing, growing and decomposition. The book will be of broad interest to scholars in the fields of anthropology, archaeology, material culture studies, history and sociology.
Eine charmante Anregung zum bewussteren Hinschauen Alexandra Horowitz, Autorin des New York Times-Bestsellers Was denkt der Hund? (Inside of a Dog), legt nun ein zweites, ebenso kluges, unterhaltsames und überraschendes Sachbuch vor. Von der Kunst, die Welt mit anderen Augen zu sehen öffnet unseren Blick für Dinge, die wir erst sehen, wenn wir uns die Zeit dafür nehmen und wenn wir die Perspektive eines anderen zu unserer eigenen machen. Das Buch verdeutlicht, wie selektiv wir gewöhnlich die Welt wahrnehmen und wie wir sie immer wieder neu entdecken können. [Horowitz], die sich als charmante Begleiterin erweist, nimmt den Leser mit auf eine Reihe von wunderbar frischen und erhellenden Spaziergängen mit ihren Experten: einem Geologen, einem Typographen, einer Illustratorin, einem Naturliebhaber, einem Wildtierforscher, einem Stadtsoziologen, einer blinden Frau, einem Arzt, einem Soundtechniker, ihrem Kindergartenkind und ihrem Hund Finn ... Die Seiten klingen und leuchten geradezu und spiegeln die tiefe Begeisterung der Autorin für ihre Arbeit und deren Ergebnisse wieder. USA Today Ein unerwarteter und entspannender Trost für unsere erhitzten Gemüter ... eine erfrischende Hommage an den Lohn des Versuchs, die Welt einmal mit den Augen eines anderen zu sehen. Chicago Tribune _____ In diesem glänzend geschriebenen Werk zeigt uns die Autorin, wie wir das Alltägliche anders sehen können, indem wir – in den Worten von Sir Arthur Conan Doyle – „Kleinigkeiten beachten“. Sie schildert elf Spaziergänge, die sie – meist in ihrer Nachbarschaft in Manhattan – mit Experten verschiedenster Gebiete unternommen hat, darunter einem Stadtsoziologen, einer Künstlerin, einem Geologen, einem Arzt und einem Sounddesigner. Auch mit einem Kind und mit einem Hund geht sie eine Runde um den Block, um herauszufinden, wie diese Wesen die Welt wahrnehmen. Indem sie schildert, was all ihre Begleiter sehen, wie sie es sehen und warum die meisten von uns nicht dieselben Dinge sehen, offenbart sie die erstaunliche Macht unserer Aufmerksamkeit wie auch die psychologisch-neurobiologischen Grundlagen fachkundigen Beobachtens. Versuchen Sie es einmal selbst: Schalten Sie, wenn Sie das nächste Mal zu einem Spaziergang aufbrechen, Ihr Handy aus und seien Sie einmal ganz in der realen Welt, in der man Schatten hören kann, in der Fremde mithilfe von Geometrie miteinander kommunizieren, während sie aufeinander zugehen, in der Haltung Bescheidenheit ausdrücken und in der sich unter einem Blatt ein winziges Universum verbergen kann – und in der wahrhaftig Welten stecken, die in Welten stecken, die in Welten stecken.
The landscapes of human habitation are not just perceived; they are also imagined. What part, then, does imagining landscapes play in their perception? The contributors to this volume, drawn from a range of disciplines, argue that landscapes are 'imagined' in a sense more fundamental than their symbolic representation in words, images and other media. Less a means of conjuring up images of what is 'out there' than a way of living creatively in the world, imagination is immanent in perception itself, revealing the generative potential of a world that is not so much ready-made as continually on the brink of formation. Describing the ways landscapes are perpetually shaped by the engagements and practices of their inhabitants, this innovative volume develops a processual approach to both perception and imagination. But it also brings out the ways in which these processes, animated by the hopes and dreams of inhabitants, increasingly come into conflict with the strategies of external actors empowered to impose their own, ready-made designs upon the world. With a focus on the temporal and kinaesthetic dynamics of imagining, Imagining Landscapes foregrounds both time and movement in understanding how past, present and future are brought together in the creative, world-shaping endeavours of both inhabitants and scholars. The book will appeal to anthropologists, sociologists and archaeologists, as well as to geographers, historians and philosophers with interests in landscape and environment, heritage and culture, creativity, perception and imagination.
Apple, Audi, Braun oder Samsung machen es vor: Gutes Design ist heute eine kritische Voraussetzung für erfolgreiche Produkte. Dieser Klassiker beschreibt die fundamentalen Prinzipien, um Dinge des täglichen Gebrauchs umzuwandeln in unterhaltsame und zufriedenstellende Produkte. Don Norman fordert ein Zusammenspiel von Mensch und Technologie mit dem Ziel, dass Designer und Produktentwickler die Bedürfnisse, Fähigkeiten und Handlungsweisen der Nutzer in den Vordergrund stellen und Designs an diesen angepasst werden. The Design of Everyday Things ist eine informative und spannende Einführung für Designer, Marketer, Produktentwickler und für alle an gutem Design interessierten Menschen. Zum Autor Don Norman ist emeritierter Professor für Kognitionswissenschaften. Er lehrte an der University of California in San Diego und der Northwest University in Illinois. Mitte der Neunzigerjahre leitete Don Norman die Advanced Technology Group bei Apple. Dort prägte er den Begriff der User Experience, um über die reine Benutzbarkeit hinaus eine ganzheitliche Erfahrung der Anwender im Umgang mit Technik in den Vordergrund zu stellen. Norman ist Mitbegründer der Beratungsfirma Nielsen Norman Group und hat unter anderem Autohersteller von BMW bis Toyota beraten. „Keiner kommt an Don Norman vorbei, wenn es um Fragen zu einem Design geht, das sich am Menschen orientiert.“ Brand Eins 7/2013 „Design ist einer der wichtigsten Wettbewerbsvorteile. Dieses Buch macht Spaß zu lesen und ist von größter Bedeutung.” Tom Peters, Co-Autor von „Auf der Suche nach Spitzenleistungen“
Materials play a central role in society. Beyond the physical and chemical properties of materials, their cultural properties have often been overlooked in anthropological studies: finished products have been perceived as 'social' yet the materials which comprise them are considered 'raw' or natural'. The Social Life of Materials proposes a new perspective in this interdisciplinary field. Diverting attention from the consumption of objects, the book looks towards the properties of materials and how these exist through many transformations in a variety of cultural contexts. Human societies have always worked with materials. However, the customs and traditions surrounding this differ according to the place, the time and the material itself. Whether or not the material is man-made, materials are defined by social intervention. Today, these constitute one of the most exciting areas of global scientific research and innovation, harboring the potential to act as key vehicles of change in the world. But this 'materials revolution' has complex social implications. Smart materials are designed to anticipate our actions and needs, yet we are increasingly unable to apprehend the composite materials which comprise new products. Bringing together ethnographic studies of cultures from around the world, this collection explores the significance of materials by moving beyond questions of what may be created from them. Instead, the text argues that the materials themselves represent a shifting ground around which relationships, identities and powers are constantly formed and dissolved in the act of making and remaking.
Twenty years is a long time in the life of a science. While the historical roots of psychology have not changed since the first edition of this book, some of the offshoots of the various theories and systems discussed have been crit ically reexamined and have undergone far-reaching modifications. New and bold research has led to a broadening of perspectives, and recent devel opments in several areas required a considerable amount of rewriting. I have been fortunate in the last fifteen years to have worked with about 2,000 psychologists and other behavioral scientists who contributed to several collected volumes I have edited. As the editor-in-chief of the In ternational Encyclopedia of Psychiatry, Psychology, Psychoanalysis and Neurol ogy, I have had the privilege of reading, scrutinizing, and editing the work of 1,500 experts in psychology and related disciplines. In addition, I have written several books and monographs and over one hundred scientific papers. Armed with all that experience, I have carefully examined the pages of the first edition. Chapter 8 required substantial rewriting and several new sections have been added to other chapters: "Current Soviet Psychol ogy" (Chapter 2, Section 7); "New Ideas on Purposivism" (Chapter 5, Sec tion 4); "Recent Developments in the Sociological School of Psychoanalysis" (Chapter 9, Section 4); and "Present Status of Gestalt Psychology" (Chapter 12, Section 4). Chapter 15 was omitted, and two new chapters were added: Chapter 14 ("Humanistic Psychology") and Chapter 16 ("Selected Research Areas").
Since its initial publication, Critical Digital Studies has proven an indispensable guide to understanding digitally mediated culture. Bringing together the leading scholars in this growing field, internationally renowned scholars Arthur and Marilouise Kroker present an innovative and interdisciplinary survey of the relationship between humanity and technology. The reader offers a study of our digital future, a means of understanding the world with new analytic tools and means of communication that are defining the twenty-first century. The second edition includes new essays on the impact of social networking technologies and new media. A new section – “New Digital Media” – presents important, new articles on topics including hacktivism in the age of digital power and the relationship between gaming and capitalism. The extraordinary range and depth of the first edition has been maintained in this new edition. Critical Digital Studies will continue to provide the leading edge to readers wanting to understand the complex intersection of digital culture and human knowledge.
The world of media production is in a state of rapid transformation. In this age of the Internet, interactivity and digital broadcasting, do traditional standards of quality apply or must we identify and implement new criteria? This profile of the work of the Cambridge University Moving Image Studio (CUMIS), presents a strong argument that new developments in digital media are absolutely dependent on an understanding of traditional excellence. The book stands alone in placing equal emphasis on theoretical and practical aspects of its subject matter and avoids jargon so as to be easily understood by the general reader as well as the specialist. Chapters discuss: • animation • navigable architectural environments • moving image narrativity • questions of truth and representation • virtuality/reality • synthetic imaging • interactivity This broad analysis of current research, teaching and media production contains essential information for all those working or studying in the areas of multimedia, architecture, film and television. The book is designed as a core text for the Cambridge University 1 year MPhil Degree in Architecture and the Moving Image.
This collection of essays is driven by the question of how we know what we know, and in particular how we can be certain about something even when we know it is an illusion. The contention of the book is that this age-old question has acquired a new urgency as certain trends in science, technology and ideas have taken the discussion of consciousness out of the philosophy department and deposited it in the world at large. As a consequence, a body of literature from many fields has produced its own sets of concerns and methods under the rubric of Consciousness Studies. Each contribution in this collection deals with issues and questions that lots of people have been thinking about for many years in many different contexts, things such as the nature of film, cinema, world, mind and so on. Those of us fascinated by these diverse yet related issues may have often felt we were working in a disciplinary no-man's-land. Now suddenly, it seems with Consciousness Studies we have a coherent intellectual home - albeit one that is self-consciously eclectic.The essays included in Screen Consciousness: Cinema, Mind and World are from a range of disciplines — art, philosophy, film theory, anthropology and technology studies — each represented by significant international figures, and each concerned with how their field is being transformed by the new discipline of Consciousness Studies. Together they attempt to reconcile the oncoming rush of new data from science and technology about how we know what we know, with the insights gained from the long view of history, philosophy and art. Each of the contributions seeks to interpose Consciousness Studies between film and mind, where for cultural theorists psychoanalysis had traditionally stood. This is more than simply updating Film Studies or nodding in the direction of cognitive film theory. Film, with all its sentient, sensuous and social qualities, is a common reference point between all these forces, and Consciousness Studies provides the intellectual impetus for this book to revisit familiar problems with fresh insight.
How can museum educators and higher education tutors enhance the way HE students use museums? There are many examples in the UK of museums and universities working together in productive and innovative ways, but these relationships tend to be based on individual enthusiasm and opportunistic arrangements. Despite the growing importance of museum education departments, higher education tends to be overlooked by museums. This book looks at the interaction between design students and museums, and explores issues, projects and emerging ideas about how museums can better support HE students. It illustrates the general lessons that can be learnt, both strategic and practical, which can help to bring about long-term and constructive relationships between museums and universities in order to enable effective student learning.

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