Abstract We address the version of an ontological turn as a methodological imprint of the coproduction of knowledge. Although this perspective carries on a methodological effort to shed new light on object study through recursiveness, it neglects the importance of technical action. The present article aims to deepen the methodological venues offered by the ontological turn to address the notion of co-production related to techniques. Departing from the analyses of ethnographic contexts, we discuss whether experimentation as axes of co-production resonates with other methodological devices provided by the anthropology of technology. We argue that philistinism, inflection, and possibilism of material affordances colligate with experimentation reflected in different practices, overcoming representational bias and posthumanist excesses.

Abstract Food waste is a challenge to the sustainability of global food systems and to the environment and demonstrates a dire need for solutions in which the food produced for human consumption actually feeds people. Food rescue practices respond to this challenge through the redistribution of food waste materials, working towards a circular economic system. Through analysis of two food rescue organisations, this article maps the food waste network and the actors engaged in practices of transforming discarded food waste materials back into an edible food resource. Despite their best intentions to uphold the fundamental goal of saving food, 'food heroes' face logistical, financial, and ethical hurdles as they implement their food rescue practices. Operating within the globalised food system, which prioritises profit and productivity, is a major challenge to food rescue organisations. This article demonstrates the fragile intricacies of the food waste network and compares how food rescue operates within different levels of the food supply chain.

Abstract Using the example of the controversial Site C dam in British Columbia, Canada, this article describes how ethnographic research that incorporated a conflict transformation perspective and included individuals from both sides of the issue highlighted both contrasting views on human-environment relations and the inequitable conditions under which they met through the Environmental Assessment process. The article argues that an anthropological approach that incorporates a conflict transformation perspective is particularly well-suited to identify, and potentially to address, the “discourses, narratives, and worldviews” (Rodriguez and Inturias 2018: 96) that operate as “cultural violence” (Galtung, 1990) in state-Indigenous environmental conflicts, legitimating structural and environmental violence.

Resumen El presente artículo se centra en describir y reflexionar, a partir de un enfoque histórico y etnográfico, el trabajo realizado desde el Foro Latinoamericano de Antropología del Derecho (FLAD); por tanto, no tiene pretensiones de ser una síntesis del campo de la Antropología Jurídica o del Derecho en Latinoamérica. La finalidad es recuperar la memoria y objetivos de sus dos precursores, como un foro académico-científico por medio del cual se pueda ubicar y vincular a los grupos, laboratorios y centros de investigaciones, sí como a los investigadores/as y estudiantes cuyo trabajo están centrados en la reflexión antropológica del Derecho a partir de la etnografía de las instituciones jurídicas y burocracias estatales; sus múltiples manifestaciones y tensiones, en México, en Brasil y en Argentina.

Depuis 1912, innombrables textes – romans, radio shows, bandes dessinées, séries de télévision, films – ont produit et articulé représentations de l'Afrique dans histoires dont le protagoniste est Tarzan, créé par l'étasunien Edgar Rice Burroughs (1875-1950). En prenant le nom « Afrique » comme référence, les textes qui orbitent et habitent le nom « Tarzan » appartiennent à une généalogie occidentale et à une histoire transculturelle. Après aborder l'économie de la marque « Tarzan ® » dans sa circulation globale, une description bref et schématique de la filmographie de Tarzan me permet d'interroger ce que j'appelle nomenclôture occidentaliste de l'« Afrique ». Finalement, par le moyen d'une lecture attentif de Moi, un noir (Jean Rouch 1959) comme un prisme à travers lequel la circulation globale de Tarzan peut être interprétée et réinventée, je suggère des possibilités de débordement imaginative, en ouvrant l'espacement transculturel de l'écriture de l'Afrique comme économie politique du nom « Afrique ». - Since 1912, countless texts – novels, radio shows, comic strips, television serials, films – produced and articulated representations of Africa in narratives which feature Tarzan, a character created by the US-American author Edgar Rice Burroughs (1875-1950). Taking the name of 'Africa' as a reference, the texts which surround and inhabit the name of 'Tarzan' belong both to a Western genealogy and to a cross-cultural history. After addressing the economy of the trademark 'Tarzan' in its global circulation, a brief and schematic description of Tarzan's filmography allows me to interrogate what I call the occidentalist name-in-closure of 'Africa'. At last, by means of a close reading of Jean Rouch's Moi, un noir (1959) as a prism through which Tarzan's global circulation can be interpreted and reinvented, I suggest possibilities of imaginative overflow, opening up the cross-cultural spacing of the writing of 'Africa' as political economy of the name of 'Africa'.