Art, Anthropology and the Gift

Sansi, Roger

doi:10.4324/9781003084693

Cited by 35 publications

(37 citation statements)

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“…The hostility we encountered in the teenager may be a symptom of the hostility between the neighbourhood and the art centre. Can Xalant was aware of this, and in the following years it worked more directly in projects to build stronger links with local communities (Sansi 2015). But for the time being, our walk made this hostility visible.…”

Section: Walking With Artistsmentioning

confidence: 99%

“…But this was also an experiment with the experimenter her or himself: an experimenter does not have control of the experimental object, in fact, the experimenter has to let himself be taken by the object of experimentation. This is of course the purpose of psycho-geography, and it could be argued that it is also the purpose of ethnographic fieldwork (Sansi 2015). The ethnographer, the artist, throw themselves in the crowds voluntarily, heroically, alone, following Malinowski's epics.…”

Section: A R T a N D W A L K I N G U T O P I A Smentioning

confidence: 99%

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Walking utopias. The politics of walking in art and anthropology

Sansi

2020

Social Anthropology

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Walking utopias. The politics of walking in art and anthropology Walking has become a common form of practice in contemporary art. Recent anthropology has been influenced by art walking practices. In this paper, however, I show significant differences between art walking and what we could call 'Walking anthropology'. The former is more explicitly engaged, in many cases, in the 'politics of walking'. These politics, on the one hand, could be based on ideas of walking as an everyday prefiguration of a future utopian society. Yet on the other hand, walking art could also be a critique of existing forms of everyday power and mobility as they are inscribed in the landscape and the city. In walking anthropology these concerns with the politics of walking seem less evident. Comparing artistic and anthropological practices and discussions of walking, my final objective is to critically evaluate the concepts of 'politics' and 'utopia' in art and anthropology.

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Section: Walking With Artistsmentioning

confidence: 99%

Section: A R T a N D W A L K I N G U T O P I A Smentioning

confidence: 99%

Walking utopias. The politics of walking in art and anthropology

Sansi

2020

Social Anthropology

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“…FX, un autre participant, croit que les artistes ambulants, tous genres confondus, répondent à un besoin public : « C'est plus qu'un besoin matériel, [on] produit quelque chose qui est juste là : un spectacle vivant ». La performance artistique publique peut être comprise ici comme une situation consciemment construite qui entraîne en accéléré de nouvelles relations sociales et matérielles (Sansi 2015).…”

Section: Les Musiciens De Métrounclassified

Expérience acoustique et pratiques musicales de musiciens de métro

Wees

2019

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Dans cet article, j’examine l’expérience acoustique des espaces souterrains du métro de Montréal et j’expose les pratiques et perceptions des musiciens qui performent dans cet environnement. Je considère comment les caractéristiques acoustiques particulières qui distinguent les espaces souterrains des espaces en surface influencent les relations coproductives qu’ont les gens avec ces espaces. Les musiciens ambulants qui performent dans le réseau du métro doivent composer avec les contraintes et les possibilités posées par les caractéristiques matérielles de ces lieux – surtout en matière d’acoustique – ainsi qu’avec la réglementation en vigueur et les normes sociales dominantes. Les musiciens de métro font preuve de tactiques fort variables et improvisées dans le cadre de leurs pratiques musicales et spatiales. Bien qu’elles puissent muter alors qu’elles sont liées à des caractéristiques personnelles et spatiales singulières, ces pratiques sont somme toute assez durables et cohésives pour être qualifiées d’acte d’agencement, une réalité qui démontre la nature coproductive du corps et de l’espace. Enfin, je suggère un parallèle entre les pratiques de nature technologique des musiciens de rue et la production audiovisuelle réalisée dans le cadre de ma recherche, deux éléments qui soulignent la relationnalité du corps et de l’espace ainsi que le rôle participatif d’agents matériels dans l’expérience sensorielle.

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“…This is not to say that there are not everyday forms of ethical action in other, less institutionalised and less professional forms of art (Abu‐Lughod ; Mahmood ) – quite to the contrary. Roger Sansi () has offered ways into thinking about these dimensions and I welcome a consolidating conversation on the diverse iterations of ethical values, subjectivities and practices in artistic fields, and how they might inform current anthropological perspectives on ethics, both ordinary and otherwise. This discussion might also be fruitful for an approach towards the ordinary, since I concur with Faubion (: 85) that even habitual ethical behaviour through which we describe people's character is not necessarily unconscious or ‘non‐cognitive’ (Camfield ), but reflected upon, even when routinised, albeit in different ways.…”

Section: Conclusion: Ethics Of Charactermentioning

confidence: 99%

Capacity for character: fiction, ethics and the anthropology of conduct

Tinius

2018

Soc Anthropol

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Method acting is one of the most popular theatrical rehearsal systems, according to which actors seek intense identification with characters. In this article, I draw on fieldwork with a professional contemporary German theatre to suggest an alternative view. Rather than training to merge with characters, actors understand characters as a 'repertoire of fiction' they freely draw upon to compose themselves. Training for characters thus facilitates the capacity to detach and appropriate traits of different, imagined and real, persons. It is thus an active and reflected stance that minds the gap between actor and character, rather than a passive and predominantly embodied taking on by actors of fictional characters and their traits. Informed by discussions on the notion of conduct in the anthropology of ethics, this article investigates how training the 'capacity for character' can inform anthropological understandings of detachment, reflexivity and personhood.

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Art, Anthropology and the Gift

Cited by 35 publications

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Walking utopias. The politics of walking in art and anthropology

Walking utopias. The politics of walking in art and anthropology

Expérience acoustique et pratiques musicales de musiciens de métro

Capacity for character: fiction, ethics and the anthropology of conduct

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