Original research, art, and interpretations of different experiences and explorations of Antarctica.
Antarcticness brings together disciplines, communication approaches, and ideas to explore meanings and depictions of Antarctica. Personal and professional words in poetry and prose, plus images, present and represent Antarctica, as presumed and as imagined, alongside what is experienced around the continent and by those watching from afar. These understandings explain how the Antarctic is viewed and managed while identifying aspects that should be more prominent in policy and practice.
The authors and artists featured in the book place Antarctica, and the perceptions and knowledge through Antarcticness, within inspirations and imaginations, without losing sight of the multiple interests pushing the continent’s governance as it goes through rapid political and environmental changes. Because of the diversity and disparity of the influences and changes the continent faces, the book’s contributions are carefully connected to provide a more coherent and encompassing perspective of how society views Antarctica, scientifically and artistically, and what the continent provides and could provide politically, culturally, and environmentally.
In Colonial Transactions Florence Bernault moves beyond the racial divide that dominates colonial studies of Africa. Instead, she illuminates the strange and frightening imaginaries that colonizers and colonized shared on the ground. Bernault looks at Gabon from the late nineteenth century to the present, historicizing the most vivid imaginations and modes of power in Africa today: French obsessions with cannibals, the emergence of vampires and witches in the Gabonese imaginary, and the use of human organs for fetishes. Struggling over objects, bodies, agency, and values, colonizers and colonized entered relations that are better conceptualized as "transactions." Together they also shared an awareness of how the colonial situation broke down moral orders and forced people to use the evil side of power. This foreshadowed the ways in which people exercise agency in contemporary Africa, as well as the proliferation of magical fears and witchcraft anxieties in present-day Gabon. Overturning theories of colonial and postcolonial nativism, this book is essential reading for historians and anthropologists of witchcraft, power, value, and the body.
Socially engaged art, though its transformative practice, shapes the institutions that surround it. And in a city famous for both its physical and political structures, few creative communities are as deeply intertwined with a city’s framework than those in Chicago.
This volume focuses on how artists and others have worked with, within, and sometimes in opposition to large Chicago institutions, such as public schools, universities, libraries, archives, museums, and other civic bodies. Drawing from a broad range of interdisciplinary sources, it explores the far-reaching effect of socially motivated art on urban life. It grounds recent history within a longer arc of civic self-fashioning, from the Columbian Exposition of 1893 to Jane Addams's Hull House to John Dewey's legacy in arts education. The collection also examines the relationship between the city’s image and the types of artistic work that flourish within its boundaries and resonate far beyond them.
Institutions and Imaginaries is part of the new Chicago Social Practice History series, edited by Mary Jane Jacob and Kate Zeller in the Department of Exhibitions and Exhibition Studies at the School of the Art Institute of Chicago (SAIC).