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- Convenors:
-
Laura Roe
(University of St Andrews)
Sonja Dobroski (University of Manchester)
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- Stream:
- Extinction
- Sessions:
- Monday 29 March, -
Time zone: Europe/London
Short Abstract:
This panel meditates upon social life as it is composed through the elements of fire, earth, water and air. We ask how do humans respond to and employ these elements in times of crisis and extinction? We ask how the elements engage with one another in various social worlds to both build and destroy.
Long Abstract:
Returning to the “fourfold roots” of Empedoclean philosophy, later expanded by Aristotle, this panel considers the elements of water, earth, fire and air. The relational character of these elements has long been an object of study in anthropological explorations of human social life, but we find they have new relevance in consideration of the Anthropocene and threats of mass extinction. While fire has been instrumental in maintaining human life, we continually witness unprecedented forest fires that have eradicated both human and respective social life. Humanity has ultimately depended upon these elements for existence, not in isolation but as constituent components of natural and social worlds. This panel asks: how do humans engage with the four elements to challenge, repair, and subvert imagined future extinction, and how might threats to one jeopardise others? How do humans respond to and deploy these elements in both the everyday and the eventful? Responses to and engagement with water, earth, air and fire are generative of imagined futures and potentials; each composed in continual processes of social alchemy. We use the term social alchemy to indicate the human intervention in these forces: a processual and conscious relationship with the crafting and manipulation of the elements to create, imagine, and destroy. The panel engages with the premise of the ontological character of non-human forces and potentials, and holistically examines the imbrication and collision of these elements in contexts of crises and extinction. We welcome papers from a wide variety of regional and ethnographic contexts.
Accepted papers:
Session 1 Monday 29 March, 2021, -Paper short abstract:
This paper uses Air as the inspiration for a discussion of how humans manipulate the world around them. From mask-wearing to the use of social media, numerous human reactions to Covid-19 will be examined. Can attempts to craft one’s immediate world to create a safer reality in the context of crisis?
Paper long abstract:
Air, one of the “fourfold roots” expounded by Empedocles’ philosophy, has been at the centre of much debate and concern in the UK as the waves of the Covid-19 Coronavirus outbreak crash and break all around us. With conferences cancelled, universities moving online and travel bans enacted, the air has taken on great significance in 2020. This significance however, is twofold, with: 1) the air being an inhalable life-giving-gas, potentially laced with this invisible virus, and; 2) the air being a digitised aether filled with social media, online selves and (mis)information about said virus. Taking social alchemy as forms of human intervention in Air, this paper will investigate the binary nature of this online/offline duality to ask critical questions as to the nature of Air in our lives. This will Include asking whether the contagion of digital fear is as, more or less dangerous than the offline contagion of Covid-19. Masks, and the concept of masking, will also feature heavily in this paper, with ethnographic examples being drawn from the author’s own digital fieldsite situated within Instagram. In times of crisis, attempts to regain lost control of one’s environment consume the daily lives of individuals living towards an (un)imagined future. This paper will specifically consider the intersection of Air, human craft and attempts at empowerment in the face of the immense ontological character of the non-human force that is Air.
Paper short abstract:
Covid Collage Chronicles is a visual ethnography of the Covid 19 pandemic using collage. I will concentrate on portrayals of breath in medical, political protest, mask-wearing and leisure contexts and on the use of water and fire language in political rhetoric.
Paper long abstract:
Covid Collage Chronicles is a visual ethnography of the Covid 19 pandemic, undertaken from May to December 2020. It consists of two hundred images, made from cut and pasted magazines, collected and recycled using collage. Collage functions using appropriation and aesthetic distancing to cope with a large range of input and therapeutic as well as chronicling purpose. Several of the collages explore connections between the anthropocene and the pandemic, including zoonotic transmisssion, air and water quality changes, and perceptions of nature. The idea of the fifth element, aether or quintessence as a combination or alchemic transmutation of the elements (akin to the god’s breath, presence or the life-force) comes back into imaginative play and projected anxiety during this period, with this invisible, barely understood disease. I previously worked for years as a cinematographer where lighting and composing the elements and weather patterns as part of narratives has been a substantial focus. The materiality of collage as a process is different, and the paper, glue, board and the small size of the works is important. I will concentrate on the portrayal of breath in medical, political protest, social media and mask-wearing and leisure contexts, and on the use of water and fire language in political rhetoric. Responses to this work in the form of social media and online exhibition will be outlined through changing notions of social life and responsibility during the pandemic. I draw on Luce Irigaray and Trinh T Minh-Ha’s characterizations of air and water.
Paper short abstract:
This paper uses ‘heat’ to think about urban life in Nakuru, Kenya. It demonstrates how affective encounters with heat generate multiple outcomes. Heat can be either destructive or productive and is an idiom used in Nakuru to narrate about the t(h)reats of the urban.
Paper long abstract:
In this paper, I unpack material and more-than-human engagements with the volcanic landscape of Menengai, a dormant shield volcano bordering Nakuru in Kenya. I shed light on the medicinal practices of a Gikuyu healer who lives in the volcano’s caldera and enables clients who lack 'motion’ to interact with - and feel kinaesthetically entangled in (e)motions that Menengai volcano generates. By establishing various affective encounters with the volcano’s material and immaterial components (its heat, plants and mineral substances), he assembles a medicinal repertoire to make sense of urban everyday life in Nakuru where some urbanites experience feelings of ‘directionlessness’, a condition evoked by the ‘heat’ of the city or late capitalism that increasingly puts pressure on urbanites’ wellbeing. I thus take the kinaesthetic healing work in Menengai as a vantage point to reflect about more general corporeal-kinetic imaginations and concerns among residents of Nakuru and who or what is responsible for their well-being or the lack thereof. The paper ultimately examines how heat, as an at times destructive or productive force, appears as an idiom in Nakuru to narrate about the treats and threats of the urban .
Paper short abstract:
In the Aberdeen Harbour Expansion Project, human engagements with non-human elements and forces are enriched by the globalised endeavours of contemporary civil engineering, all part of the Harbour’s plans to become a hub for renewable energies.
Paper long abstract:
The construction of maritime infrastructures combines, in intricate and enigmatic ways, social memories and future imaginaries (Harvey & Knox 2015: 6) along with the elements. In the case of the Aberdeen Harbour Expansion Project, the complex nature of human engagements with non-human elements and forces – earth and water in particular – is enriched by the globalised endeavours of contemporary civil engineering. This transformational civil engineering project is responsible for creating 1,400 metres of new quay at Nigg Bay; the process involves land reclamation, and the mobilisation of construction units, ‘caissons’, transported from the north east of Spain via the sea, as well as significant dredging operations in the bay, to create depth. With North Sea reserves nearing peak production, the project is part of the drive of Aberdeen Harbour’s plans to become a hub for renewable energies and economic diversification. As an anthropologist grounded in the study of migration and landscape in post-Soviet contexts, I bring an attention to the production of space; that is, an understanding of environment, whether 'natural' or built, entertains puzzling relations with past and present, in ways that conceal history ;human intervention on the coast here has a long and illustrious history – the Harbour was established 900 years ago, but its current appearance is largely the result of its reconfiguration – started in the 1960s by oil and gas This paper is fed by globalised engineering imaginaries as well as elemental experiences, the resistances of rock, the clanging of machinery and the unabating lament of the sea.