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Between Matter and Method

i
ii
 Between Matter and Method

Encounters in Anthropology and Art

Edited by Gretchen Bakke and Marina Peterson

Bloomsbury Academic
An imprint of Bloomsbury Publishing Plc

LON DON • OX F O R D • N E W YO R K • N E W D E L H I • SY DN EY

iii
 Bloomsbury Academic
An imprint of Bloomsbury Publishing Plc

50 Bedford Square 1385 Broadway

London New York
WC 1B 3DP NY 10018
UK USA

www.bloomsbury.com

BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc

First published 2018

© Selection and Editorial Material: Gretchen Bakke and Marina Peterson, 2018

© Individual Chapters: Their Authors, 2018

Gretchen Bakke and Marina Peterson have asserted their rights under the Copyright,
Designs and Patents Act, 1988, to be identified as Editors of this work.

All rights reserved. No part of this publication may be reproduced or transmitted

in any form or by any means, electronic or mechanical, including photocopying,
recording, or any information storage or retrieval system, without prior permission
in writing from the publishers.

No responsibility for loss caused to any individual or organization acting on

or refraining from action as a result of the material in this publication can be
accepted by Bloomsbury or the authors.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN : HB : 978-1-4742-8920-7
PB : 978-1-4742-8923-8
ePDF : 978-1-4742-8922-1
ePub: 978-1-4742-8921-4

Library of Congress Cataloging-in-Publication Data

A catalog record the this book is available from the Library of Congress

Cover design: Adriana Brioso

Cover image: Spatial Intervention (1), 2002, by Nicole Six & Paul Petritsch. (© DACS 2017)

Typeset by RefineCatch Limited, Bungay, Suffolk

To find out more about our authors and books visit www.bloomsbury.com. Here you
will find extracts, author interviews, details of forthcoming events and the option to
sign up for our newsletters.

iv
Nightly Jelly filled her notebooks: scraps of fact, fiction, essay.
—Fay Weldon, Splitting

v
vi
 Contents

List of Illustrations viii

List of Contributors ix
This is an Introduction, or, What is happening? Natasha Myers xii
Formless Matters: A User’s Guide Gretchen Bakke, Marina Peterson xiv

1 Labyrinth of Linkages—Cinema, Anthropology, and the Essayistic

Impulse Rachel Thompson 1

2 Mattering Compositions Kathleen Stewart 21

3 On Misanthropology (punk, art, species-hate) Shane Greene 35

4 Notes Toward Critical Ethnographic Scores: Anthropology and

Improvisation Training in a Breached World Joe Dumit 51

5 Becoming Sensor in Sentient Worlds: A More-than-natural History

of a Black Oak Savannah Natasha Myers 73

6 Art, Design, and Ethical Forms of Ethnographic Intervention

Keith M. Murphy 97

7 The Recursivity of the Gift in Art and Anthropology Roger Sansi 117

Another World in This World Stuart McLean, Kathleen Stewart,

Lina Dib, Joe Dumit, Rachel Thompson, Keith M. Murphy,
Marina Peterson, Craig Campbell, Gretchen Bakke 131

8 A report from the archives of the Monument to Eternal Return:

Comgar Craig Campbell 141

9 Wind Matters Marina Peterson 159

10 The Comparative Method: A Novella Gretchen Bakke 171

11 Audible Observatories: Notes on Performances Lina Dib 191

This is an Index Shane Greene 207

12 Blubberbomb Stuart McLean 209

This is a Title Gretchen Bakke, Marina Peterson 227

vii
 Illustrations

Flipbook, by Rowan Campbell 1–227

1.1 The Dregs of Her Ammunition 4
1.2 Points of Entry and Exit 8
1.3 How We Weep and Laugh at the Same Thing 10
1.4 Everything and Nothing Else 12
1.5 Map as Score for a Film 16
1.6 QR Code to Extinction Number Six (2011, 16:9, 148 min) 17
3.1 Allin in Performance Mode 40
5.1 High Park, Parkside Drive Gate 74
5.2 Compositions and Decompositions 79
5.3 Still Falling 80
5.4 Coming Undone 82
5.5 Dances with Light 87
5.6 Vibratory Milieu 89
5.7 Energy Diagram of Queen Anne’s Lace 91
8.1 COMGAR Workplan, figure 1 145
8.2 COMGAR Workplan, figure 2 154
9.1 Sound Analyzer 164
10.1 Japanese Pesos 173
10.2 Cassette Tape 176
10.3 Bookgun 179
11.1 Pitman Park, Bellaire, Texas, 2016 196
11.2 Sonogram of a Forest (2016), monoprint 201
12.1– Filippos Tsitsopoulos, The Madrigal of the Explosion of the
12.4 Wise Whale. Four channel video installation (2010) 210
12.5 Filippos Tsitsopoulos, The Madrigal of the Explosion of the Wise
Whale, at Papay Gyro Nights (2012), the Old Kelp Store, Papa
Westray, Orkney 214
12.6 Filippos Tsitsopoulos, The Madrigal of the Explosion of the
Wise Whale 223

viii
Contributors

ix
Gretchen Bakke is a professional writer and editor living in Montréal and Berlin. She holds an
assistant professorship in Anthropology at McGill University. Her research focuses on the arts in
Slovenia and on electrical infrastructure in the United States.
Natasha Myers is an anthropologist of art, science, and ecology. She is an associate professor of
anthropology, director of the Plant Studies Collaboratory and the convenor of the Politics of
Evidence Working Group at York University.
Roger Sansi is Professor in Anthropology at Universitat de Barcelona, Spain. He studied at the
Universities of Barcelona and Paris and he received his PhD in Anthropology at the University of
Chicago (2003). He has worked at Kings College and Goldsmiths College, University of London.
Kathleen Stewart teaches anthropology in the form of writing workshops at the University of Texas,
Austin. Her books include A Space on the Side of the Road: Cultural Poetics in an “other” America
(Princeton), Ordinary Affects (Duke), Worlding (forthcoming, Duke) and, with Lauren Berlant, The
Hundreds (forthcoming).
Lina Dib is a multidisciplinary artist and anthropologist. Her installations and compositions
range from the experimental to the ethnographic and investigate socio-technical and ecological
change. She is an affiliate artist at the Topological Media Lab at Concordia University in Montreal
and research fellow at the Center for Energy and Environmental Research in the Humanities and
Social Sciences at Rice University where she also teaches.
Craig Campbell is Associate Professor of Anthropology at the University of Texas, Austin. He is
a founding member of the Ethnographic Terminalia curatorial collective. His book, Agitating
Images: Photography Against History in Indigenous Siberia (University of Minnesota Press, 2014),
explores, through archival photography and historical research, the early points of contact
between Bolshevik Revolutionaries and Indigenous peoples in central Siberia.

x
Stuart McLean is Professor of Anthropology and Global Studies at the University of Minnesota.
He studied English literature at the University of Oxford and then went on to obtain a PhD in
sociocultural anthropology from Columbia University. He is the author and editor of a number
of books.
Rachel Thompson is a musician, filmmaker, and PhD candidate in Anthropology at Harvard
University. Thompson holds an MFA in Visual Arts from UCSD, and an MA and BA in Music
from Wesleyan University. As an arts educator and media producer, she has worked at the Walker
Art Center and the J. Paul Getty Museum.
Shane Greene is beholden to the title of Professor of Anthropology at Indiana University
Bloomington and was once even Director of the Center for Latin American and Caribbean Studies
there. He has written two books: Customizing Indigeneity (2009) and Punk and Revolution (2016).
Keith M. Murphy is an associate professor of anthropology at the University of California, Irvine.
He is a linguistic and sociocultural anthropologist interested in the relationship between
language, aesthetics, and human experience. He is the author of Swedish Design: An Ethnography
(Cornell, 2015).
Marina Peterson is Associate Professor of Anthropology at the University of Texas, Austin. Her
work explores entanglements of sound, sense, and urban infrastructures below and above ground.
She is the author of Sound, Space, and the City: Civic Performance in Downtown Los Angeles, and
co-editor of Global Downtowns and, with Gretchen Bakke, Anthropology of the Arts: A Reader.
Joe Dumit is an anthropologist of passions, brains, games, bodies, drugs, and facts who functions
as chair of performance studies, and professor of science and technology studies and anthropology
at the University of California, Davis. http://dumit.net

xi
 This is an Introduction, or, What is happening?

One thing that is happening is an attempt to imagine anthropology rubbing up

against the arts, and the arts rubbing up against anthropology. What can be
generated in the friction between the two? What lies between an anthropology
of the arts and the artfulness of an ethnographic method? These are the questions
potentiated in the papers here, which I read as excitations, elaborations,
experiments, and ways of stepping into not knowing and being willing to fail.
Another thing that is happening is a question of whether an artful
anthropology might be able to conjure another world within this world. This
conjuring is not to renounce the frictions and horrors, and deaths and destruction,
nor to slide into a utopian, or romantic, mode. The aim is not to craft a micro-
utopia, but a way of calling up the otherworldliness already in this world, as
Stuart McLean put it so eloquently. If we tune in, what muted registers of being
and becoming might we begin to access?
“Make-a-think” is one formulation that came up through our conversations. I
hear this in the fullest meaning of the verb “to think”, in its material-semiotic-
affective-synesthetic dimensions, full of and exceeding gesture, language,
thought, or concepts. I hear it as a conjuring practice, an incantation, the kind of
tuning in required to do the work of channeling other worlds in this world. Here
“a conjurer” is not to be mistaken for “an intact liberal subject” with the privilege
to pull meaning into being and the power to make that meaning hold. A conjurer
is not a master choreographer, or composer, or conductor with an intact
repertoire. A conjurer, in the sense that we explored in this gathering, required a
yielding, a softening, an attunement. Becoming sensor, recursively, is an act of
improvising with worlds in the making.
A sensor is many things. Military sensors are pre-tuned to pick up the
differences that they think matter. This is not the model we are working with
here. An artful anthropology requires recursive attunements to figure out what
might come to matter here or there, or now, or now, or now, or what mattered
then. A prefabricated sensor would not be of much use to the ethnographer who
takes responsibility for crafting a field and stepping into a partly fictitious world
in which they do not yet know what matters. Recursivity and responsivity are the

xii
 This is an Introduction, or, What is happening? xiii

grounds for an artful ethnographic practice, an anthropology informed by the

arts and art practices, and by the experiments of other practitioners. Recursivity,
responsivity, and attunement are tools that we may need in order to make-a-
think, to conjure a new kind of think, another kind of thought, a thought that
can dismantle some worlds and world other worlds alongside, inside, and athwart
worlds already worlding.
What is happening in this gathering are a range of ways we see ethnographers
in the act of recursive attunement: through the mimetic form of writing in Katie
Stewart’s essay to the blubbery excesses of Stuart McLean’s efforts to keep pace
with the mythical flow of whale imaginaries. To Gretchen Bakke’s efforts to hold
together so many stories of norms and their defiance’s and defeat, or Craig
Campbell’s sensory attunement to story, fantasy, and plants in his design of a
collectivist garden as an art-based intervention in a post-socialist utopia.
It is not necessary that this other world in this world has a micro-utopian
form. Worlding is non-innocent. All worlding is an act of violence. And so the
worlds we conjure may be haunted by horrors, ghosts, harm. Art-making
practices help throw into relief the moral economies of goods and bads we take
as given. Artful ethnographies might help us break the frame, shake up the
ground we thought was solid under our feet.

– Natasha Myers
 Formless Matters: A User’s Guide
Gretchen Bakke and Marina Peterson

An unusual book, Between Matter and Method might be easy to mistake for an
edited volume, especially given that its primary contents are indeed a series of
single-authored essays. It is however a work in common—a multi-authored
musing on the nature of creative action, and a set of essays (as in trials or
attempts) toward bringing what we feel (respectively and each differently)
matters to anthropology as a discipline unfolding. Imagine an origami swan
flattened back into a piece of paper. Imagine a whale putrefying on a beach.
Imagine ethics. Language. Story.
More prosaically, our aim was to reorient the terms of interdisciplinary
encounters between artists and anthropologists. To accomplish this we brought
together a select group of anthropologists who incorporate critical and creative
dimensions of artistic practice into their research methods and ethnographic
writing: Bakke, Campbell, Dib, Dumit, Greene, McLean, Murphy, Myers,
Peterson, Sansi, Stewart, Thompson. All are accomplished ethnographers whose
work is driven by concerns with creative practice, made manifest in their
conceptualizations of arts, aesthetics, and anthropology, in their interdisciplinary
collaborations with artists, and in their writing. Some also work on the arts in a
conventional sense, but this was not, in the end, what mattered.
In framing the volume we—the editors—were more interested in borrowings
of artistic process emergent in contemporary anthropological practice. Likewise,
there was an alignment regarding the hoped-for after-effects of this process. Just
as an artist’s method is integral to how he or she makes an object, a sound piece,
or a performance that also does “work,” which is to say that it reveals something
not already evident in the world, so too are many contemporary anthropologists
seeking to produce something that does its own work, in and on the world. Thus
this volume differs from much recent work on the intersections between
anthropology and art, insofar as our emphasis is on a critical conceptualization
of process rather than on subject matter or outcome.
Between Matter and Method embraces the inchoate and (seemingly) illegible,
resisting both form and container. Moreover, while it draws from previous lineages

xiv
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