Visual journey: Inger K. Vasstveit

Before I entered fieldwork I agreed with Peter to take one picture for the seven first days of my fieldwork, and thus contribute to the project’s onephotographaday experiment. Here is my contribution. The pictures are taken at Bodhgaya, the place where Buddha
Sakyamuni attained Enlightenment, and is therefore considered the most sacred
place for Buddhists. When I went there the place were also to host the 32.
Kalachakra initiation, which is the only major tactic ritual within Tibetan
Buddhism that is performed in public. The Dalai Lama was the spiritual head of
the ritual. My project is on protective objects used by Tibetans, and my
fieldwork will be conducted among exiled Tibetans in India [Read more]

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Framework for design experiments

Dear all,

We’re just about ready to get started with the DMT design experiments! Based in the
experiences from the November workshop, Alexandra and I have come up with a
basic framework for the experiments, which we think will work. [Read more] 

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Damned to Interaction and Cursed by Contemporary Art

“Every day an average of 155.000 people die around the world. Ultimately, death is unavoidable, inevitable. It is part of life. Death Matters explores the different ways people around the world deal with death.” –This is how the Tropenmuseum in Amsterdam announces its current exhibition staged in their appealing light-hall. To die is undeniably an anthropological constancy – we are all concerned. Reason enough to go and see this show. But the Tropenmuseum promises even more on its leaflet: personal stories, important objects, films and contemporary art present diverse conceptions of death, partition, mourning and commemorating. [Read more]

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Statements from Papua New Guinea

This blog will contain short statements, since text messages is the only option for communicating.

January 6th: “I never sweep the dirt out the main door. I might sweep out the dead too you know. My husband and my parents, they look after me if I treat them right and they stand in the door. If you want to sweep out that way, you have to say excuse me”. There is something interesting about doors. It is also where magic enters the house and those living there, and where it might be stopped.

January 12th: “I never talk to fireflies; they are the evil spirits of the dead”. I wonder why talking in particular is a problem. I know that in other situations dead relatives in the form of fireflies help people find their ways in the dark, but of course in that case they do not speak to them.

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Workshop Summary

Dear all

Thank you very much for your participation in the DMT workshop last week. After the workshop I have received both good and bad reviews of the event, which we will need to learn from in our future work. As this project is by all means experimental we need to be prepared to continuously adjust the way we work as we go along.

For now, I just want to catch up on some of the major debates that occurred around the table, which I think will have an impact on how we may approach our future design experiments, and the discussions in the magic circles of both Oslo and Aarhus. [Read more]

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Workshop Collections

“At the outset, the collector group’s intention was to find, by accident, objects that would refer to time. The exhibitor group followed up this intention by making the props of the exhibition also into objects referring to time.”

At the recent workshop in Oslo the participants were divided into groups and sent out to various places in central Oslo with the task of making a collection inspired by the themes of materiality, time and death. Afterwards the groups used some of the collected objects for a small installation. Find out more about the works and thoughts of the different groups.

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Oslo Workshop: November 9-10, 2011

On November 9, 2011 participants gathered at the Museum of Cultural History in Olso, Norway for a workshop that broke out of the powerpoint lecture form; design experiments and round-table discussions with tactile visual components inspired discussions about topics such as the potential of the museum experience and the use of interventions in research.

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Visual Journal: Thea Skaanes


Day 1: Going. It would take me three days of constant travel to reach my children – if all would go smoothly. Heart beats faster – I have picked up fractions of information both indicating it is going to be possible and impossible to do fieldwork with my little daughter in November. Open. Ready. Unrest. Impatient. Curious.

Day 2: First visit. Hadzabe here have stopped hunting and moving. Hunger Heat Hope Even in this dusty dry and bare environment without leafs on the trees the Hadzabe vitness the pastoralists overtake of land. Museum dimension gained momentum with a visit to cultural centre. I am concerned and in doubt.

Day 3: Went out of Yaeda Chini to Mang’ola. Milking tourists. Visited a hadzabe boma at sun set. Shifting, hunting, managing. Only two hours from Karatu.  This looks very promising if only I can avoid the milking machine.

Day 4: After a nice night in my tent I went back to the boma in the morning. Tourist session was taking place. The datoga guy from the tourist office was eager to arrange a program for me. After a couple of hours of miscommunication we discussed the possibilities for fieldwork. Communication breakdown. What was great though was the visit and communication with the Hadzabe. Notice the kitchen area in open air under a thorntree. The encirclement of succulent plants. And cutting of entrance to the two adjacent areas of sleeping area and kitchen. This is the preparation of ugali and dik-dik for the camp’s children. In the afternoon fled from milking machine to Karatu.

Day 5: Delightful hot shower in Karatu. The dust had given my skin an – actually nice – ocher hue. Early bus to Arusha. A lot on my mind! I have an almost ready agreement with Mount Meru University – the fountain of real knowledge//the foundation of real knowledge – as it says on the two business cards I’ve received. The university is baptist. The Hadza are under tremendous pressure, as it is! I cannot bring a tail of missionaries with me to the field. Information processing at the Danish consul’s house. Openings and closures.

Day 6: Maybe I should have gone to Dar to try to meet with researchers at the university in search of institutional affiliation with the university there? Instead I stayed in Arusha. Geert took me on a tour to visit ‘places that might be of interest for you’. The picture is taken from an exhibition of replicas of ancient rock art – combined with courses in making hand made paper(? – yup). I ran through the different – specialized – markets to get gifts for my family. Met with great people in the evening. Packed my gear – ok to leave my tent and other stuff at Geert’s.


Day 7: I’ve been travelling for more than 35 hours. It shows. I’m sweaty and I can feel the thin cover of dust from the 11 hours bus ride in Tanzania. Now I’m on the train from Cph. I’ve been reading G. Bataille on the way. I have had difficulties following his argument when I tried reading him before. Maybe it just wasn’t the right time – preparing for fieldwork. Now it is clear and inspiring! I guess it fits well with the sense of uncertainty and all the unsortedness following intense meetings.

 

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One Photograph A Day: Visually Charting Time and the Fieldwork Process

The practice of taking one photograph a day encourages contemplation of the process of conducting fieldwork. Some participants from the Death, Materiality, and Time group have agreed to post one photograph a day and/or a short reflection during their work. When these image are posted, the blog becomes an informal mobile exhibition and an opportunity to inspire some interaction, tension, or connections between work at the different field locations.

Please see the following photographs by Thea Skaanes to see examples of the onephotographaday experiment.

-Sarah Schorr

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