Category Archives: Book Reviews

Best of Material World Blog: Landscape and Place

Patrick Laviolette (EHI, Tallinn University, hosts of EASA2014)

In terms of providing reflections on the material dimensions of place and landscape, here are some links to what I feel have been amongst the more provocative postings on the blog over the years. Many of the authors to the links below implicitly, or sometimes even explicitly ask: how do we depict our spatial experiences through the digital medium of blogging?

In Feb 2007, Graeme Were put up a piece simply entitled ‘Footpaths‘ by Kate Cameron-Daum. It is an eye-catching post which stirred my own curiosity on methods of walking, particularly in the countryside. Similarly, Peter Oakley’s observations at Tyntesfield house in A Roof with a View, reflects upon the postmodern condition of a heritage site standing below some scaffolding.

With some contrast perhaps, Dimitris Dalakoglou’s research summary on roads in the border region of Albania and Greece talks of movement, fixity and transgressive ‘materiality’. In a stunning photo-montage, Tony Whincup’s Water on Water project equally raises politically charged issues over morality, national agendas and cross-cultural understandings.

David Sutton’s post Looking Good gives MW readers an informative review of Cristina Grasseni monograph Developing Skill, Developing Vision (Berghahn, 2009) — a book about the environment and so much more. Similarly, anthropologist and curator Claire Melhuish provides a review of the exhibition ‘Land Architecture People‘.

In keeping with the themes of design and urban space, Jo-Anne-Bichard & Gail Knight posted a ‘toiletscape’ piece that is both fun as well as seriously challenging at the same time. Aliine Lotman’s research synopsis on ‘Dumpster Diving‘, waste and disgust in Barcelona equally captures much of the essence to approaches grounded in material culture studies (i.e. those which are anthropologically informed whilst also being innovative, inter-disciplinary and ethnographically rich).

Similarly, an in-depth posting in our ‘Occasional Papers Series (no.3)’ by Sabrina Bradford & Abby Loebenberg recently sparked the possibility of rethinking the impacts of hurricane Katrina. Theirs is a multi-media reflection on ‘disaster landscapes’, a theme which resonates with my last two selections from MW blog postings.

Matt Voigts (picking up on a reoccurring public transport meme which Aaron has also identified as one of his favourites) sent a digest on memorialisation cycles. It is a telling personal account in the vein of ‘contemporary past archaeologies’. In seeing a ‘ghost-bike‘ relic, he reveals how things of mourning can create social affects upon both our historical imaginaries as well as the design possibilities for urban planning.

And at around the same time, Francisco Martinez & Larissa Vanamo offered us an astute interview from a few years back with the fascinating and controversial ‘doomsday prophet’ Pentti Linkola.

 

 

Best of Material World Blog: Museums, Exhibitions, Archives, Memorials

– Compiled by Aaron Glass (Bard Graduate Center) 

Since its inception, Material World has treated museums and archives not only as repositories of material culture, but as material culture–that is, material products as well as producers of culture and social memory. As institutions, they are sites of collection and exhibition, acts that have their own material and materializing dimensions.

Here are some of our favorite posts about museums, exhibitions, archives, and memorials:

Graeme Were reviews the Musée du Quai Branly a year after it opened.

Anna Weinrich examines two permanent museum exhibitions in Australia featuring Aboriginal culture and collections by a foundational anthropologist, testing out the new museology against the politics of Aboriginal voice.

Diana Young discusses her curatorial efforts to enliven museum collections in dialogue with Aboriginal artists.

Bethany Edmunds reviews two British exhibitions of Pacific material, reflecting on the role of language in framing both historic and contemporary art and material culture.

Gabriela Nicolescu writes about the aesthetics and ideologies behind changing representation of peasant culture in the National Museum of the Romanian Peasant.

The History Rising project brings together artist and curator to explore the architecture and design of exhibition space, technology, and furniture.

Paul Williams investigates the global trend for museums memorializing atrocities.

In one of the innovative formats on Material World, a conference report details the papers given in a conference called “Disturbing Pasts: Memories, Controversies, and Creativity.”

Matt Voigts discusses London’s vernacular “Ghost bikes” in the context of other urban memorials.

Anna Haverinen explores virtual memorials as means of mourning online.

Christopher Pinney writes about the salvaging of an individual’s photographic archive after monsoon flooding.

Corinne Kratz shares a link to an online archive of publications by Ivan Karp, one of our most prolific and insightful anthropologists of museums and exhibition practice.

And finally, I include one of my own book reviews to call further attention to Museum Pieces, the important 2011 publication by Ruth Phillips that brings togethers essays from her entire career working in and thinking critically about museums.

 

Mundane Objects: Materiality and non-Verbal Communication by Pierre Lemonnier

Haidy Geismar, UCL

The latest issue of Hau has a symposium on Pierre Lemmonier’s latest book, Mundane Objects, with commentary by Bruno Latour, Chris Ballard, Tim Ingold, Paul Graves-Brown, Susanne Küchler and a response by Pierre Lemmonier. The series of comments essentially sum up a “state of the art” comment on material culture theory, which Tim Ingold pithily sums up to date:

Perhaps there is something to be said for going back to the anthropological debates of the 1960s and 1970s on such themes as symbolic condensation, the distinction (or lack of it) between ritual and practical-technical actions, and how to do things with and without words. Arguably, our understandings have not been much advanced by subsequent approaches to material culture, for example by treating it as a system of signs whose meanings could be read off from the objects themselves, by entering them as candidates for social life but only as tokens of exchange among human beings, or by focusing on their consumption at the expense of their production.Nor—and here I agree wholeheartedly with Lemonnier—is there anything to be gained from leaving the heavy lifting to such philosophical juggernauts as “agency” and “materiality.” Most agency-speak is as tautologous as the functionalism it replaced: where before, if the presence of a thing has effects (and it would not be present if it did not), these effects were attributed to its functioning, nowadays they are attributed to its agency. The argument is no less circular, and equally ridiculous, especially coming from the mouths of celebrity philosophers. The concept of “materiality” is just as vacuous, no more so than when the abstraction that led from materials to materiality is followed by a counterreification from materiality to materialities, leading to the absurdity of describing a thing made from many different materials as an assemblage of multiple materialities. We have had more than enough of both agency and materiality, and they have got us nowhere. We need to go back to basics. But do we start with objects or affects, artifacts or materials,communication or participation? In each of these pairings, Lemonnier opts for the former. I opt for the latter (Ingold 2012). I wonder whether there might be some way of putting these two perspectives together. Now, that would be an advance.

In other commentary, Latour applauds Lemmonier’s emphasis on techniques and technology as a way to subvert the ethnocentric preoccupation with a crude object focus that comes with many contemporary theorizations of materiality, recognizing the very plasticity of the material world and Susanne Küchler provocatively thinks through the nascent material qualities of computers and other interactive digital technologies.

 

 

Material culture in Hungary and everywhere else

Daniel Miller, UCL

 

Krisztina Fehérváry 2013 Politics in Color and Concrete: socialist materialities and the middle class in Hungary. Indiana University Press

Léna Pellandini-Simányi  2014 Consumption Norms and Everyday Ethics. Palgrave Macmillan

Hungary is a good place to take stock of the current state of material culture studies. Because Hungary is simply a good emblem of `anywhere,’ in that it represents neither a vanguard nor a backwater, but works as simply another ordinary place. That is significant to me because the material culture studies that I guess I have always wanted to promote are precisely about this same ordinary whether as blue jeans, or domestic interiors.

Fehérváry’s exemplary scholarship, both historical and ethnographic, takes us through both socialist modernism and post-socialist consumer modernism in the development of contemporary Hungary. We see the discrepancies between the creation of demand and the problems of actually fulfilling the expectations that these gave rise to, a problem in both socialism and capitalism. We see unexpected links between modern organicist appeals to nature and older socialist appeals to collectivism. Above all this leads to her ethnographic sense of the contemporary middle-class. The middle class is always beset by contradiction and ambivalence. It is there is the very words `middle’-class. But it is rare to see the routes and reasons so carefully laid out, or its consequences.

Central to this is the appreciation that the built landscape as a palimpsest of various historical periods works to a quite different temporality. It means that having considered how it expresses a relation to ideology we than have the additional problem that as times changes the built landscape becomes at once both anachronistic and yet maintained as the landscape of the present. Her book shows the impact this has on ordinary people’s understanding of their worlds and the betrayal of successive ideals. While also grounding foundational notions of normality and morality, creating what she describes as the normal state of abnormality. These are obviously important issues that can be generalised across the world as people in all regions struggle to literally build their modernity and aspirations in the teeth of failures of all kinds.  I was particularly impressed by the way she blends the descriptions of these material worlds with a sense of humanism and poignancy in respect to their impacts upon ordinary people.

Pellandini-Simányi tackles several of the same themes concerning the normative foundations of contemporary consumption but relates them more to current concerns with `over-consumption’ and sustainability. Rather than using historical and ethnographic sources she focuses on the underlying issues of consumption norms and their moral foundations in a given society. This is a more general, comparative and sociological book though some of the material is from her own research, also in Hungary. What is particularly valuable about that part of the book is that she looked at households which sometimes spanned three generations so she could observe the way these norms change over time.  As in the best of material culture studies this again excavates the most taken for granted aspects of what simply looks appropriate in the same way that Bourdieu examined taste. She has far more emphasis on change compared to Bourdieu with a focus on the reasons that something so engrained is nevertheless subject to change even if this is simply the replacement of one generation by the next. At the same time, as with Bourdieu she retains a strong sense of the link between the normative and practice. She makes good use of comparative studies of how norms of consumption change over time including the Osella’s excellent work in South India, while not ignoring the pressures from commercial institutions. I admit that in some ways I would have liked to see more of her own research findings which here get a bit buried within the more general discussion. But along with Elizabeth Shove she makes an important contribution to seeing consumption as normative pertaining to local ethical debate. She ends with what she calls a qualified liberal approach Habermas and Rawls.

These books are very different with Pellandini-Simányi looking to more sociological debates and Fehérváry exemplifying the depth of engagement and scholarship found in classical traditions of anthropological ethnography. But both speak to the way in which contemporary material culture studies, whether based in Hungary, but equally it could have been Argentina or Australia retain this driving ambition to expose the lightness of materiality. That objects seem to contain a kind of cultural gravity that makes them a heavy burden – they want to remain grounded and foundational and taken for granted as the landscape we live within. It is only by refusing to accept this and giving them an almighty academic kick, that we can excavate underneath to find that actually they came to be there through quite historical, cultural and sometimes fleetingly fashionable reasons. Without this consciousness we lose the ability for introspection with regard to our own material foundations, and granting us this consciousness is the greatest boon that such modern material culture studies has to offer the world.

 

Things in Culture, Culture in Things

Emily Brennan, UCL Anthropology

Approaches to culture theory 3: Things in Culture, Culture in Things

Edited by Anu Kannike and Patrick Laviolette, 2013, Estonia: University of Tartu Press.

TiC coverThis volume addresses the dynamics of materiality over time and space. In cross-cultural, multi-temporal and interdisciplinary studies the authors examine how things gain meaning and status, generate a multitude of emotions, and feed into the propagation of myths, narratives and discourses. The book is divided according to four themes: soft objects, stoic stories, consuming and the collectable, and waste and technologies. The first section discusses the meanings of the lived environment on the individual and national levels. The second section provides specific examples on the role of things in identity construction. The third section focuses on historical and contemporary aspects of consumption and collecting. The phenomena under scrutiny in the fourth section are moral dilemmas associated with and representations of dirt/waste and advancements in science and technology. Presenting diverse case studies of material culture, the volume points to rich interdisciplinary approaches in cultural theory.

Things in Culture, Culture in Things aims to present an unconventional compendium emphasising the ‘storying of things’ in material culture. It has been published in response to the fourth annual autumn conference of the Centre of Excellence in Cultural Theory (CECT) which took place on the 20th to 22nd October 2011 in Tartu, Estonia. Contributions are from Hungary, Finland, India, Sweden, Germany, Canada, the UK, and Estonia from departments including sociology, anthropology, English literature, cultural studies, archaeology, journalism, information and communication studies, linguistics, history and behavioural sciences; this gathering is exciting whilst bringing a challenge in finding threads of connection with which to introduce and structure the book. The result is an over-arching vagueness which frames the chapters.

The book is broken down into four sections: Soft objects; Stoic stories; Consuming and the collectable; and Waste and technologies. The first section, Soft Objects, starts with a chapter from sociologist Stephen Harold Riggins: an ethnography looking at the home of an artist influenced by the punk scene. The chapter is entitled The natural order is decay: the home as an ephemeral art project, and simultaneously reflects on Riggins previous auto-ethnographic work. This is followed by Carlo A. Cubero’s chapter on the diasporic sounds of the African kora, combined with ethnographic filmmaking as method; Placing objects first: filming transnationalism. The section ends with Rowan R. Mackay’s chapter Beware of dreams come true: valuing the intangible in the American Dream which discusses the relationship between the tangible and the intangible.

Stoic Stories follows. These chapters are described in the introduction as “arduous and touchy” (Laviolette in Laviolette and Kannike 2013: 22). Susanne Nylund Skog’s chapter The travelling furtniture: materialised experiences of living in the Jewish diaspora looks at how memories materialise in narratives through domestic furniture. This is followed by Timo Muhonen’s A hard matter: stones in Finnish-Karelian folk belief. Muhonen separates individual stones from archaeological monuments as powerful individual units in folk belief. An embroidered royal gift as a political symbol and embodiment of design ideas by Kirsti Salo-Mattila is the final chapter of this section and investigates political history through artefact analysis.

The third section, Consuming and the Collectible, begins with Maria Cristache’s chapter entitled The ‘vintage community’ in Bucharest: consumers and collectors. This Romanian ethnography suggests that a hybrid form of consumption is at play, whilst emphasising the experiential over mnemonic aspects of vintage clothing consumption. Roosmarii Kurvits’ chapter follows: The visual form of newspapers as a guide for information consumption looks at the relationship between visual form, linguistics and national identity through newspapers in Estonia. This is followed by Visa Immonen’s chapter entitled Design for individuality: the Jordan Individual toothbrushes and interpassivity in material culture which discusses gender and individuality in toothbrush design and consumption in Finland. The final chapter of this section focuses on colonial collecting: Collecting the Nagas: John Henry Hutton, the administrator-collector in the Naga Hills by Meripeni Ngully.

The final section of the book is Waste and technologies. The section begins with Waste and alterity in ‘speculative fiction’: an assessment of the de- and re-evaluation of material objects in selected dystopian novels by Brigitte Glaser is a literary analysis which focuses on waste and related ideas in fictional works by Margaret Atwood and Ronald Wright. This is followed by Toilet cultures: boundaries, dirt and disgust from Remo Gramigna which uses the toilet as an entry point to the nature culture debate, a discussion of typology, and ‘human waste’, before moving on to a discussion of boundaries, dirt and disgust. The final chapter of the book is the only one written collaboratively; The social childhood of new ambivalent objects: emerging social representations of new biotechnologies by Maaris Raudsepp and Andu Rämmer.

There are some fascinating chapters here. The content is extremely varied and shows the complexities inherent in interdisciplinary material culture. Whilst it is difficult to find continuity in the volume this is not surprising and perhaps less problematic if one considers it as a diverse posthumous collection of work rather than one which is meant to work together. The occasionally eccentric content of the book is amusing in the narrative context in which the volume is set.

 

The Distributed Effects of Alfred Gell

Distributed Object

Book Review:

Distributed Objects: Meaning and Mattering after Alfred Gell.

Edited by Liana Chua and Mark Elliot

Berghahn Books (London & New York), 2013

 

 

By Fiona P. McDonald (University College London)

 

According to Georgina Born in Distributed Objects: Meaning and Mattering after Alfred Gell, “we all have our own Alfred Gell” (p. 130). Therefore, I too must admit to having my own Alfred Gell—one more clearly understood to me after exploring an entire volume dedicated to what can best be summarized as profound scholarly reflections on the distributed effects of Alfred Gell’s endeavor to identify an anthropological theory of art in his Art and Agency: An Anthropological Theory (1998). Distributed Objects is a captivating pendant piece to Gell’s original publication. It is not meant as a guidebook to understanding Gell’s work; rather it is a collection of complex studies that capture distinct engagements with Gell’s ideas around an anthropology of art. A sound understanding of (or at least an attempt at having read!) Art and Agency is suggested in order to fully appreciate the depth to which each chapter in this volume unpacks Gell’s work.

Comprised of eight chapters—seven written by academics from Britain’s leading institutions, plus one chapter by Gell himself—Distributed Objects represents a remarkable breath of engagement with Gell’s oeuvre across a variety of disciplines. From anthropology, ethnomusicology and literary theory, to contemporary art, as well as performance, archaeology, material science, and art history, the scope of disciplinary expertise in this volume is extraordinary. The entire volume is book-ended by two overview texts. The first is the Introduction, where the editors Liana Chua and Mark Elliot contextualize their own understanding of Alfred Gell—a summation that eases both seasoned and novice readers through Gell’s oeuvre and the density of research that follows throughout the volume. The final text drawing a close to Distributed Objects is by Nicholas Thomas, who presents a succinct Epilogue that is itself a truly distinguished review of this volume. It leaves the reader with a somewhat buoyant view when looking ahead to identify and understand future spaces where the distributed effects of Gell can be located within a museum context.

Continue reading

The Noodle Narratives: A worthy successor to Sidney Mintz?

Adam Drazin, UCL Anthropology, and convener of the MA program Culture, Materials and Design

noodle-narr_custom-dc422cdcd6e7173a5488bf859f8972c5329257eb-s2-c85In a recent interview on BBC Radio 4’s Thinking Aloud (www.bbc.co.uk/programmes/b03bfk9h), the book the Noodle Narratives was compared to Sidney Mintz’s classic study Sweetness and Power (sidneymintz.net/sugar.php).  In Sweetness and Power, Mintz famously shows how sugar underwrote and structured the capitalism of slave labour and factory labour in the British Empire, and convergently set out what class meant in the British Empire in consumption.

Is this comparison justified?  Are noodles the capitalist staple infusing our contemporary world system?

For Frederick Errington, Deborah Gewertz and Tatsuro Fujikura, noodles represent ‘Big Food’.  They a staple food, made from wheat processed to have flavour, carbohydrates, just enough protein, an unimaginable (and unnecessary) shelf life, and adaptability of consumption.  The authors illustrate their capacity for cultural shape-shifting.  From Japanese noodle museums, they are heritage.  Among American students and convicts, they provide for sensitive, personal and memorable moments.  In Papua New Guinea, instant noodle-based entrepreneurialism forms the basis of kinds of private enterprise which anthropology has for a long time identified as potentially deeply significant moments of local sociocultural change.

There is no doubting the globalism and social ubiquity of pre-processed instant noodles, nor their simple technical ingenuity.  This book is very successful at demonstrating the way that a loved and personal commodity is associated in many different parts of the world with groups of people among whom underprivilege resides with aspiration.  Even this book itself will be ‘loved’ by many readers, on account of the noodle contagion.  The book also draws attention to the shifting nature of inequality as a global issue, but does not necessarily manage to provide answers.  While relatively clear forms of class, based on production and consumption, provided a clear architecture for Mintz’s devastating critique, the ideologies of inequality with which the Noodle Narratives deal are less clear.  The significance of the global uniformity of the technical production, and materials, of processed noodles are clear, but the prolific translation of these into ideas of what society is in localised contexts through cultures of knowledge, is more murky.

The reader of this book will be left with many intriguing questions about globalism and how anthropological ideas can travel.  Aside from being a good exploration of the role of materials in consumption, the book is an illustration of how the power and cultural influence of notions of ‘cheap’ and ‘processed’ remains undervalued by anthropology, and of how many cultural concepts such as these require to be unpacked and expanded by contemporary material culture studies.

The Hare with Amber Eyes: A Family History of and through Objects

By Aaron Glass (Bard Graduate Center)

After knowing about the book for a couple of years, I finally found the time to read The Hare with Amber Eyes (2010), Edmund de Waal’s evocative exploration of his material patrimoine. The book traces its author’s geographical, archival, and emotional wanderings though the past century and a half and across the globe as he pieces together the story of his family, largely through its accumulated—and then mostly alienated—collections. Where objects are no longer extant, de Waal reconstructs their once-presence from lists, ledgers, account books, registries, catalogues, photographs, letters, memoirs, and novels.

Continue reading

Book Review: Museum Pieces by Ruth Phillips

Museum Pieces: Toward the Indigenization of Canadian Museums

Ruth Phillips (2011, Montreal: McGill-Queens’s University Press)

Untitled-2

Reviewed by Aaron Glass (Bard Graduate Center)

“Canada’s collaborative models of museum practice have arisen as organically from its history as the canoe or the snowmobile.”

The first sentence of Ruth Phillips’ long-awaited volume of essays on museums and indigenous people encapsulates a number of her analytical perspectives: it delimits the general institutional field of her study and suggests that particular collaborative practices are characteristic of their national context and their slowly evolving forms. But by invoking iconic modes of both indigenous and settler transportation, Phillips also implies that the museum itself is a form of technology—an engineered machine for achieving specific goals. She even materializes her own contributions to the field by invoking the polysemous term “pieces” to describe the essays contained herein. Throughout the book, she draws on Actor Network Theory to argue for the vital agency of museums (and essays about them) as key players in movements for effective social change, and the value of public controversies for spurring positive developments in institutional policy and protocol. Long a tool of colonial and imperialist ideology, Phillips advocates for the postmodern museum to be a broker and mediator of renegotiated postcolonial relationships—the museum as both beneficiary and sponsor of changing government attitudes toward indigenous peoples.

Likewise, the subtitle of the book communicates central themes within her larger argument. By focusing on developments in Canadian museums over the past fifty years, Phillips calls attention to the country’s cultural and political particularities while demanding a greater recognition for Canada’s role in exporting its innovative methodologies to museums worldwide. Her use of the term “indigenization” operates at multiple levels. On the one hand, it suggests that developments local to Canada—birthplace of multiculturalism as national policy—have a unique flavor (and American readers may note, by contrast to general conditions within the U.S., the strong influence of federal funding, government task force reports, and nation-wide initiatives on largely publicly funded institutions). On the other hand, it calls attention to the positive impact that Canada’s indigenous people have had on transforming national institutions—indeed, on forcing them to operate with indigenous principles in mind to a certain extent. In this latter sense, Phillips’ choice of “indigenization” over an appropriate alternative such as “decolonization” signals an important shift of focus from institutional actions toward indigenous artists, curators, and activists who demanded change. Finally, by hedging the subtitle with “toward,” she implies that the work of institutional transformation is unfinished business, and she offers the essays as both documentation of past developments and prompt to future ones.

Continue reading

Zeitgebers, Pacemakers and Objects of Time

Charles Stewart, UCL Anthropology

timeThis being athletics season, I was watching a major European track event on the television when the pacemaker caught my attention in a middle distance race.  The announcer was excoriating him for running too far ahead of the pack, thus becoming an irrelevance. Pacemakers, also referred to as ‘rabbits’ (but never called ‘pacesetters’ in the running world) are paid to run laps at a clip that puts runners in position to break records. They may be compared with an apparently more dependable species of ‘rabbit’, the mechanical ones used at dog tracks; fluffy little dolls suspended from an iron bar, motorized to speed ahead of the greyhounds, luring them to chase.  At many American dog tracks races begin with announcements such as ‘here comes the bunny.’

Kevin Birth’s rich and insightful new book, Objects of Time: How Things Shape Temporality, prompted me to see these rabbits in a new way.  Unlike clocks or calendars they do not provide absolute measurements; nor are they autonomous environmental cues (zeitgebers), such as sunrise, the sound of birds or the feel of diurnal temperature fluctuations, which influence our internal circadian rhythms.  Rabbits are zeitgebers (literally ‘time givers’) of another sort: they regulate time to achieve relative targets such as a world record or a fast-enough dog race.  As Bachelard pointed out, temporal rhythms are fundamental to existence.  We all have phases of being hungry or sleepy, for instance, and we intimately know ourselves to be enmeshed in multiple, overlapping rhythms.  Happiness, according to Bachelard, rests in awareness of these rhythms and the ability to live in harmony with them.  Ideally we would work exactly when we felt most energetic and rest when tired.  The problem is the tyranny of ‘superimposed time’. Reference to yet one more pacemaker illustrates this bind – the cardiac pacemaker, which overrides the lazy or inconsistent heartbeat of the individual.  Beneficial and life-saving, yes, in many circumstances, but until recently, anyone switching these devices off could be accused of murder as Katy Butler explains in her heart-rending account of her father’s declining health (‘What Broke My Father’s Heart’).  Pacemakers can superimpose lifetime on bodies that have otherwise run out of life-sustaining rhythms.

Colonization involves the superimposition of time on a different scale. Methodists setting a clock in their mission church among the South African Tswana inculcated a new consciousness of time, prayer and work according to the Comaroffs.  Standardized Western temporal templates were foisted onto people around the globe who had generally told time according to social and environmental rhythms. Nuer time reckoning according to the cycle of activities involved in cattle raising, or Balinese time regulated in relation to kinship are two classic examples.  Into these worlds barged clock time.  Birth convincingly demonstrates that these absolute time scales predicated upon homogeneous units (e.g. days, hours, seconds) did not arise with nationalism as Benedict Anderson asserted, but rather as accompaniments to centralized power more generally. This takes us back at least to the Roman Empire, and it is no coincidence that months bear Roman names, while the division of the day into 24 units comes from ancient Sumer.  For these reasons Birth considers modern time to be necromantic in its dependence on the inventions of the dead, which we follow without understanding the underlying principles.  I liked the imaginative resonance of that assertion, although I remained unpersuaded at a pedestrian level.  For one thing, every complicated cultural tradition transmitted to the present would be necromantic.  And in any case, it depends on what one understands necromancy to be.  My association was with using the physical remains of the dead for magical purposes, or as objects for divination or musing such as when Hamlet holds the skull in his hand while reflecting: ‘Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest, of most excellent fancy…’

Objects of Time ranges over matters of time and time keeping historically, with fascinating examples from Roman and Medieval times.  It is also deeply informed by Birth’s ethnographic experience of life in Trinidad, where he has conducted field research resulting in an earlier book Anytime is Trinidad Time.  What he can show is that people live according to a multiplicity of temporal cues in the course of an average day.  They make only occasional or oblique reference to clock time, and clock time is often subordinated to their system of reference. If a regular ball game in the park opposite one’s house normally ends at 2 p.m. then, whenever the sound of play stops is 2 p.m. – whether or not the clock agrees. Trinidadians have a multitemporal, cross-cutting system of time reckoning based on all manner of sonic, social and solar cues. The advent of clock time and the power we may suppose it to have established through colonialism (or modernity in general), has not been decisive and overriding like the heart pacemaker, but rather creolized into local repertoires of time telling. The clock is only a facet of Trinidad time. Like distance runners they can choose to ignore the pacemaker.

The cover of this book shows a timepiece from the French revolutionary period with two dials. One displays the newly introduced, hyper-rational revolutionary time (10-hour day) and the other the traditional 24-hour day.  It is an object that reveals how difficult it is to translate time systems; so difficult in this instance that a mechanical calculator was needed.  This illustrates one of Birth’s key insights, that clocks have a ‘formal completeness’ that allows them to inform experience very powerfully and fundamentally; map IS territory.  Furthermore, clocks, together with all other chronometric objects and environmental cues, form part of an extended mind, a distributed cognition whereby humans and objects prop one another up in a system of relations.  Different time keeping systems, or bodies of experience such as those found on Trinidad, are thus immensely difficult to translate into one another since they exist as sedimented sets of experiential logic.  Local multitemporal timekeeping is the stuff of Bourdieu’s habitus; a body of knowledge that comes and goes without saying.  Birth compares the situation with language relativity, and observes that we can generally translate languages and understand one another across language barriers.  With language we can always resort to saying the same thing using different words to convey the basic concept.  As artefacts, timekeeping objects cannot gloss one another; their inner experiential worlds cannot be translated.  In the Middle Ages a spacium was the unit of time it took to walk a particular circuit. A monk might be instructed to eat for no longer than one half spacium. The Western clock requires no experience of walking in order to tell time in agreement with others.  Time keeping objects woven into multitemporal repertoires are, we might say, ontological and it is considerably more difficult to translate ontologies into one another than it is to translate words or concepts. One has to live into them.