The Shape of Time

Kubler, George

doi:10.12987/9780300196375

Cited by 22 publications

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“…As analytical category, 'technical' can thus be extended to the two other orders of phenomena which are also part of what 'technology' is used to refer to. Thus, 'technical objects' include things (in a broad sense, including a stone to be thrown, or a ritual image) that are made or enrolled in a process of performing efficacious actions (which is different to qualifying these objects as efficacious in themselves); these 'objects' are 'traditional' because their design is often part of longer historical dynamics of progressive and transmitted changes, improvements, or innovations (see Kubler, 1962;Simondon, 2017Simondon, [1958). This category includes what we define as 'physical' tools and instruments, as well as machines, and can also be extended to less tangible entities such as algorithms, software, or prayer (see Coupaye, 2013, pp.…”

Section: This Definition Of 'Technical Acts' Not Only Offers Us Guide...mentioning

confidence: 99%

Making ‘Technology’ Visible: Technical Activities and the Chaîne Opératoire

Coupaye¹

2022

The Palgrave Handbook of the Anthropology of Technology

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Introduction: 'Technology' as a vernacular category'Technology' is a problematic category for social and historical sciences. As authors such as Ruth Oldenziel (1999, pp. 19-50), Leo Marx (2010 or, more recently, Eric Schatzberg (2018) have shown, the term emerged out of a complex history of mistranslations and confusions, leading to the merging together of heterogeneous meanings and phenomena, such as practices, knowledge, devices, and large organisations, within a masculinist and colonial frame. Beyond issues of semantics (Sigaut, 1985), this epistemologically biased confusion allowed it to become a pervasive trope in public, media, and corporate discourses, as 'an ostensibly discrete entity-one capable of becoming a virtually autonomous, allencompassing agent of change' (Marx, 2010(Marx, [1997, p. 564).The combination of conceptual black-boxing, pervasiveness, and suggestions of rational linear determinism is perhaps the reason why, unlike history, philosophy, or sociology, anthropology has hesitated to make technology an explicit topic of investigationas it did with religion, kinship, politics, art, and even nature itself-although subjects such as subsistence modes and techniques were part of early ethnographies and museum analyses (see Blackwood, 1970;Pitt-Rivers, 1906). Indeed, anthropologists, especially those working in the English language, seemed to have been reluctant to make it a proper and identified topic of enquiry, in spite of a few calls to develop an actual 'Anthropology of Technology'

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Section: This Definition Of 'Technical Acts' Not Only Offers Us Guide...mentioning

confidence: 99%

Making ‘Technology’ Visible: Technical Activities and the Chaîne Opératoire

Coupaye¹

2022

The Palgrave Handbook of the Anthropology of Technology

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“…58 For George Kubler, replications are a source of cohesion across time; arguably, they equally serve that role across space. 59 Kubler used the series to describe the historical accumulation of replications, each building on what came before. However, as Whitney Davis points out, Kubler's approach to the series may be overly deterministic.…”

Section: Global Networking: Journalsmentioning

confidence: 99%

“…Writing in 1962, George Kubler drew from information and cybernetic theory as he proposed a model that looked beyond style, and instead used historical sequences to shape a global art history. 10 Rejecting biological metaphors, he evoked electrodynamics: the 'transmission of some kind of energy; with impulses, generating centers, and relay points; with increments and losses in transit; with resistances and transformers in the circuit'. 11 Recent scholars have updated such language for the internet age, revealing global networks of artists and representations.…”

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confidence: 99%

Animating Internationalism: David Alfaro Siqueiros and Antifascist Art in the 1930s

Jolly¹

2022

Art History

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A demagogue agitates the masses. Protesters and fascists struggle in the streets. Gasmasked figures loom, a vulture swoops. A tank advances. Women and children are victimized, African Americans lynched. Buildings topple and burn, civilization is destroyed. The people rise up. Such images appeared in cartoons, prints, and artworks reproduced in the pages of magazines across the globe during the 1930s. They also appear in the mural that David Alfaro Siqueiros and Josep Renau painted with their colleagues, the International Team of Plastic Artists, in the stairwell of the Mexican Electricians' Syndicate headquarters in Mexico City in 1939-1940 (plate 1, and see plate 9 and plate 17), making it a veritable archive, or 'matrix', according to Mari Carmen Ramírez, of the period's popular press. 1 The widespread appearance of such iconography raises a key question for art history: how do we imagine, and thus reconstruct, an international artistic culture? More specifically, how can we make visible the transnational web of connections that animated internationalism in the 1930s?In the 1930s, people across the globe could visualize their interconnectedness like never before. New technologies, from international newsreels in cinemas, to newspapers and journals distributing stories, prints, maps and photographs from around the world, cultivated a global consciousness and contributed to what Jessica Berman calls a 'transnational optics'. 2 Arguably, the rise of fascism generated great urgency for such a global way of seeing and thinking. Activists, artists, and intellectuals responded to the challenge, building networks across national borders to fight fascism.Art history's reliance on style once relegated 1930s artistic production to a realist stumble off the march towards mid-century abstraction. While the administrations of the Soviet Union and Germany consolidated power within their respective artistic cultures to present unified aesthetic fronts, the response from the democratic world was fragmented and contested from within. 3 Typically framed between realism and surrealism, art in the democratic world lacked the same aesthetic clarity: viewed from this perspective, the period appears in disarray, polemical, and unstable. Yet perspectives from the Americas have reframed the period. Scholars in the edited volume, The Social and the Real, reconsider artists' interest in 'realism', noting that, more than a unified style, it signalled the function of art and the social role of artists, included a search for new audiences, and evoked an attitude of engagement with the world. 4 Andrew Hemingway likewise traces a movement (in the United States) held together less by common style, and more by the creation of institutional initiatives, critical discourses, and efforts to develop practices that aligned with political ideals. 5

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“…Being an extremely wide area of investigation, it is appropriate to focus on the level of interaction defined as "design process" in the idea of the project as a space-time event (event/phenomenon), or solution to a problem (Kubler, 1972). Having established that a field of forces, generated from the interaction of agents, determines a context, we will try to define the interaction system (Fig.…”

Section: Introductionmentioning

confidence: 99%