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Hi Nikolai
Thanks for your email, and for thinking of me for this. It looks awesome.
Unfortunately I have already committed myself for another panel. But I'll
definitely drop by your session - it sounds fascinating!
With thanks and best wishes
Alberto
-----Mensaje original-----
De: G.M. Murawski [mailto:[log in to unmask]]
Enviado el: viernes, 08 de abril de 2011 12:16
Para: [log in to unmask]
CC: Nikolai Ssorin-Chaikov; [log in to unmask]
Asunto: AAA CfP: ETHNOGRAPHIC CONCEPTUALISM: PERFORMING METHODOLOGICAL
EXPERIMENTS
Hi Alberto,
I wonder if you cold be interested in this - from the point of view
of your research on architects and your interests in optics...
We are going to do a special issue of a Russian journal, Laboratorium
on this. But that\'s after the AAA.
What do you think?
Nikolai
AAA Montreal (16-20 November 2011)
SESSION CALL FOR PAPERS
We have two (of ten) slots available in our double-length session at
the AAA meeting in Montreal this November. Please send abstracts (250
words or less) before TUESDAY 12 APRIL to each of the following email
addresses:
Nikolai Ssorin Chaikov ([log in to unmask])
Felix Ringel ([log in to unmask])
Michal Murawski ([log in to unmask])
Selected submitters will be notified by Thursday 14 April. More
information about the AAA Meeting here: http://www.aaanet.org/
meetings/2011-AAA-Annual-Meeting.cfm
ETHNOGRAPHIC CONCEPTUALISM: PERFORMING METHODOLOGICAL EXPERIMENTS
The term ‘ethnographic conceptualism’ refers to ethnography,
conducted as conceptual art, and to artistic and aesthetic
experimentations in ethnography. It takes its cue from conceptual art
or ‘conceptualism’ that creates art objects out of concepts —
and, most importantly, out of audiences and their reaction to these
objects. Much of contemporary digital art, for instance, is performed
by the audiences of digital art exhibitions. And while there is a
recognition of the performative character of museum anthropology,
there has been little discussion so far of the methodological
deployment of these performative acts. What happens when performances
become research tools? What is seen in a society that one studies if
performance of anthropological concepts is an explicit method of this
study? If conceptual art is a mirror representation of the audience,
what kind of informant is this audience? If ethnographic
conceptualism is a form of participant observation, exactly what is
‘observation’ in this ‘participation’? And what is being
‘observed’?
The goal of this panel is methodological: it is to explore the
heuristic possibilities of this kind of anthropological engagement of
audiences/informants. But it is also to explore cultural contexts
that are conditions of possibility for such performances. If we work
on an assumption of blurred boundaries between ‘things’ and
‘publics’, does our method depend on the kinds of things that are
being offered (science models, Soviet-era artefacts, genetic data,
indigenous art, newspaper columns or artistic provocations written or
staged by an anthropologist)? And do they depend on the kind of
public that is being displayed and explored through exposure to these
objects? Most of such experimentation occurs in urban contexts. What
changes if performances take place in other locations? Does this
performativity work beyond an already educated urban public or the
public that is (in)formed by post-colonial criticism, indigenous
politics and anthropology more generally? Which anthropological
concepts, and which notions of what anthropology is, travel and are
recognised by such and other publics? Do conceptualist performances
fail? What are the ethnographic consequences if they do? In other
words, what are the contours and historical and socio-cultural limits
of societies that are constituted by such performances?
The term ‘ethnographic conceptualism’ was coined during work on an
exhibition of gifts to Soviet leaders at the Kremlin Museum in 2006.
The curators expected this exhibition to be controversial, and
thought that the process of curating and the exhibition itself could
be an excellent way to explore a post-socialist audience and its
politics of memory (Sosnina and Ssorin-Chaikov 2009). From this
vantage point, they explored the exhibition visitors’ comment book
as an artefact that the many visitors thought was actually part of
the exhibition display. This panel seeks to bring together
explorations of other forms of ethnographic experimentation with art,
of portable analytics and traveling theories and of anthropological
knowledge production and representation not after, but during fieldwork.
Conveners: Nikolai Ssorin-Chaikov (University of Cambridge), Felix
Ringel (Cambridge), Michal Murawski (Cambridge)
Discussants: Ina Dietzsch (University of Durham) and Maria Pasholok
(University of Oxford)
Confirmed speakers: Nikolai Ssorin-Chaikov (Cambridge), Michal
Murawski (Cambridge), Felix Ringel (Cambridge), Olga Sosnina
(Tsaritsyno Museum), Eleanor Cooper (University of Oxford), Maja
Petrovic-Steger (University of Cambridge), Marta De Maghaeles
(University of Cambridge), Dmitrii Baranov (Russian Ethnographic
Museum, St Petersburg)
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