MatteRealities: Historical Trajectories and Conceptual Futures for Material Culture Studies

Ingrid Gessner,Juliane Schwarz-Bierschenk,Miriam Nandi

doi:10.1515/culture-2019-0027

Ingrid Gessner, Juliane Schwarz-Bierschenk + Show 1 more

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https://doi.org/10.1515/culture-2019-0027

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Abstract

Abstract “No ideas but in things!” William Carlos Williams’s leitmotif for the modernist epic Paterson seems to anticipate the current renewal of academic attention to the materialities of culture: When the Smithsonian Institution accounts for The History of America in 101 Objects (Kurin) or when Neil MacGregor, designated director of the Humboldt Forum in Berlin, aims at telling The History of the World in 100 Objects (2011), they use specimens of material culture as register and archive of human activity. Individual exhibitions explore the role of objects in movements for social and political change (Disobedient Objects, Victoria and Albert Museum, London). Large-scale national museum projects like the new Humboldt Forum in Berlin or the National Museum of African American History and Culture in Washington, D.C., draw attention to the long existence of collections in Western institutions of learning and reveal the inherently political character of material culture—be that by underscoring the importance of institutional recognition of particular identities or by debates about provenance and restitution of human remains and status objects. The plethora of objects assembled in systematic as well as idiosyncratic collections within and outside the university is just beginning to be systematically explored for their roles in learning and education, funded by national research organizations such as the German BMBF.1 In theatrical performances, things function as discussion prompts in biographical work (Aufstand der Dinge, Schauspielhaus Chemnitz) or unfold their potential to induce a bodily experience (The Force of Things: An Opera for Objects, GK Arts Center, Brooklyn, NY). Things are present: as heritage, as commodities, as sensation; they circulate in processes of cognition and mediation, they transcend temporal and spatial distantiations. Things figure in narration and performance, in our everyday life practices, in political activism. They build knowledge of ourselves and others, influence the ways in which we interact with our fellow human beings, and in which we express or control our feelings. They combine the apparently concrete and the fleetingly abstract. Overall, things make us do things.

Highlights

“No ideas but in things!” William Carlos Williams’s leitmotif for the modernist epic Paterson seems to anticipate the current renewal of academic attention to the materialities of culture: When the Smithsonian Institution accounts for The History of America in 101 Objects (Kurin) or when Neil MacGregor, designated director of the Humboldt Forum in Berlin, aims at telling The History of the World in 100 Objects (2011), they use specimens of material culture as register and archive of human activity
Intending to increase the interdisciplinary discussion made possible by artifacts, we opted for retaining the overarching label Material Culture Studies, which we use in recognition of the diversity of approaches applied and as a common roof under which we see the increasingly sophisticated articulations of investigation into and reflection on the objects, things, or materialities of culture cohabit and interact
With the eponymous neologism of MatteRealities, this special issue of Open Cultural Studies—as well as the conference from which it hails—reflects the dynamic tension between the poles of “old” and “new” Material Culture Studies and offers avenues of investigation that address the question of where the study of cultural matter might take cultural studies as a whole

Summary

Introduction

“No ideas but in things!” William Carlos Williams’s leitmotif for the modernist epic Paterson seems to anticipate the current renewal of academic attention to the materialities of culture: When the Smithsonian Institution accounts for The History of America in 101 Objects (Kurin) or when Neil MacGregor, designated director of the Humboldt Forum in Berlin, aims at telling The History of the World in 100 Objects (2011), they use specimens of material culture as register and archive of human activity.

Results

Conclusion