This is an essay about the connections between the passage of time and the condition of archaeological knowledge. It revisits Tim Ingold’s 1993 paper The Temporality of the Landscape, considering its relationship with the phenomenological and interpretive archaeologies of the 1990s and what we learn from it today. Engaged not so much in an ‘ontological turn’ as in a kind of archival return, the essay compares Ingold’s discussion of Breugel’s painting The Harvesters (1565) with an archaeological photograph from 1993. A discussion of the after-effects of performance follows, and four theses about temporality, landscape, modernity and revisiting are put forward: i) The passage of time transforms archaeological knowledge; ii) Archaeological knowledge transforms the passage of time; iii) An archaeological landscape is an object that is known through remapping; iv) Archaeological knowledge is what we leave behind. The essay concludes that that archaeology is not the study of the temporality of the landscape, as Ingold had argued, but the study of the temporality of the landscape revisited

https://www.tandfonline.com/doi/pdf/10.1080/00293652.2016.1151458

The Temporality of the Landscape Revisited

SATURN’S ARK: THE IMPROVISED ARCHIVES, POLITICS, AND PERFORMANCES OF SUN RA Brian J. Lefresne Advisor: University of Guelph, 2018 Professor Ajay Heble This dissertation examines the relationship between Black experimental performer Sun Ra (and his ensemble known as the Arkestra) and the archives of Black expressive culture. The archive, both conceptually and physically, provides a theoretical approach to understanding the cultural and social influences present in the musical performances, social practices, and politics of Ra and the Arkestra. In Chapter One, I detail how Ra’s elaborate concert spectacles known as “myth-rituals” should be understood as an act of archival preservation and intervention. Within these concerts Ra was able to maintain traditions of Black sacred and secular performance cultures that provided a performative grammar to ward off the commodification of jazz and other improvised musics within formal settings. In the second chapter, I shift my attention towards Ra and the Arkestra’s clothing and fashion. I argue that these sartorial choices may be seen as an “alternative archive.” The materiality and style of Ra and the Arkestra’s clothing function as an archival repository that captures the heterogeneity of, and often competing, discourses around Black visual and embodied identity politics of early 1970s America. Moreover, I suggest that Ra and the Arkestra’s dress is in dialogue with Black diasporic traditions of dandyism and tricksterism. The final chapter shifts towards the historical moment of the Space Race. In this chapter I suggest that Ra’s sounds, words, and visual identity from the years 1969-1972 must be seen as part of a wider movement of Black diasporic cultural actors whose works form what I call the Black counter-archive of the Space Race. I contend that Ra and his contemporaries produced cultural artefacts that can be positioned as part of an archival repository that critiques the mainly American and wholly white archive of humanpowered space travel and exploration. In my conclusion, I examine how Ra’s persona and his performance practices (in tandem with the Arkestra) confound conventional approaches to archives and archiving. This discussion is followed by a brief coda where I explore the ways in which the practice of engaging in archival research might itself be seen as an improvisatory act.

Saturn's Ark: The Improvised Archives, Politics, and Performances of Sun Ra

Regulations in urban governance stipulate that large amounts of urban data be made available to the public with the intention of informing and enhancing decision making by businesses and citizens. Yet, the Planning and Building Permit Archive for the City of Oslo as one such source of data, only enables pinhole access by the public, denying public dissemination of planning and urban development issues beyond individual building and planning cases. Based on a set of experiments by the designer Even Westvang in a project called SeePlan, the article discusses how visualizing data from the Planning and Building Permit Archive may extend the available repertoire for the public to participate in urban planning.

/pdf/exploring-urban-data-visualization-and-public-participation-yl5bk47v0s.pdf

Exploring urban data visualization and public participation in planning

Present day ideals of good parenting are socio-technical constructs formed at the intersection of medical best practices, cultural norms, and technical innovation. These ideals take shape in relation to the fundamental uncertainty that parents/mothers face, an uncertainty that comes from not knowing how to do what is best for one's children, families, and selves. The growing body of parent-focused smart devices and data-tracking platforms emerging from this intersection frame the responsible parent as one who evaluates, analyzes, and mitigates data-defined risks for their children and family. As these devices and platforms proliferate, whether from respected medical institutions or commercial interests, they place new demands on families and add an implicit emphasis on how humans (often mothers) can be augmented and improved by data-rich technology. This is expressed both in the actions they support (e.g., breastfeeding, monitoring food intake), as well as in the emotions they render marginal (e.g., rage, struggle, loss, and regret). In this article, we turn away from optimization and self-improvement narratives to attend to our own felt experiences as mothers and designers. Through an embodied practice of creating Design Memoirs, we speak directly to the HCI community from our position as both users and subjects of optimized parenting tools. Our goal in this work is to bring nuance to a domain that is often rendered in simplistic terms or frames mothers as figures who could endlessly do more for the sake of their families. Our Design Memoirs emphasize the conflicting and often negative emotions we experienced while navigating these tools and medical systems. They depict our feelings of being at once powerful and powerless, expressing rage and love simultaneously, and struggling between expressing pride and humility. The Design Memoirs serve us in advocating that designers should use caution when considering a problem/solution focus to the experiences of parents. We conclude by reflecting on how our shared practice of making memoirs, as well as other approaches within feminist and queer theory, suggest strategies that trouble these optimization and improvement narratives. Overall, we present a case for designing for mothers who feel like they are just making do or falling short, in order to provide relief from the anxiety of constantly seeking improvement.

The Fundamental Uncertainties of Mothering: Finding Ways to Honor Endurance, Struggle, and Contradiction

Over the past several decades the archival turn in contemporary art practice has produced a panoply of visual, performance and literary art works that activate the archives. Artists working within this turn often employ critical-aesthetic strategies to records in order to reconsider historical narratives, expose missing or silenced voices, interrogate modes of representation, or investigate relations between official and personal memory through art-making processes and works. Other artists combine these strategies with socially and community-engaged practices, as did poet Kaia Sand and interdisciplinary artist Garrick Imatani, who were artists-in-residence at the City of Portland Archives and Records Center in Portland, Oregon from 2013 to 2015. This paper explores how Sand and Imatani affectively engaged history and memory with a collection of police surveillance records, transforming records of control into works of art that commemorate the lives and work of activists. Employing interdisciplinar...

Artists and records: moving history and memory

"Performing Archives/Archives of Performance contributes to the ongoing critical discussions of performance and its disappearance, of the ephemeral and its reproduction, of archives and mediatized recordings of liveness. The many contributions by excellent scholars and artists from a broad range of interdisciplinary fields as well as from various locations in research geographies demonstrate that despite the extensive discourse on the relationship between performance and the archive, inquiry into the productive tensions between ephemerality and permanence is by no means outdated or exhausted. New ways of understanding archives, history, and memory emerge and address theories of enactment and intervention, while concepts of performance constantly proliferate and enable a critical focus on archival residue. Covering philosophical inquiries as well as discussions of specific artworks, performances, and archives, the contributions to the field of performance studies and one of its central concern: performance and its disappearance and reproduction" -- p. [4] of cover.

Performing Archives/Archives of Performance

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Performing Archives/Archives of Performance