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quarta-feira, 7 de maio de 2008

Paper from the journal "Trabalhos de Antropologia e Etnologia", SPAE, Porto, vol. 45, 1/2, 2005, pp. 9-16

Serralves Museum, Porto, 2005.






RETROSPECT*



by


Tim Ingold**



Abstract: In this paper, the author reviews his intellectual and professional career, tracing the principal influences on his academic and intellectual development. He also outlines the main themes of his research: on human-animal relations, the comparative anthropology of hunter-gatherer and pastoral societies, and relations between biological evolution and human history. In his most recent work he has attempted to build a synthesis between phenomenological, ecological and developmental approaches, in philosophy, psychology and biology respectively, linking them to an anthropological theory of skilled practice.

Key-words: Intellectual autobiography; anthropology in the UK; biology and culture.


I was born in 1948, the youngest of four children. I enjoyed an overwhelmingly happy childhood which imbued me with a love of the Kent countryside where I grew up, and a passion for steam trains. With the constant assistance of my mother, who dealt with routine derailments, I became a keen railway modeller. However I saw rather little of my father. As professor of botany at Birkbeck College, London, he often had to stay late to teach his classes, and was rarely home before my bed-time. Nevertheless, I doubt whether any other single person has exercised so great an influence on my life and character.
My father was enthralled by the beauty of nature. But his way of celebrating that beauty was to study it. His was a homely science: the sort you could do by going for walks in the countryside armed with a collecting tin, by peering down a microscope at what you had found, and by tracing out what you saw with pen and ink, using a contraption made out of an old lamp and a sheet of glass mounted on copies of the Encyclopaedia Britannica. As a child, I spent hours with the Encyclopaedia. I also loved to thumb through the pages of my father’s copy of D’Arcy Wentworth Thompson’s monumental book, On Growth and Form. Added to that was my growing collection of mathematical and scientific books. By the age of eleven I was experimenting with the mathematics of soap bubbles and writing a paper on the cycloidal patterns traced on a surface by the point of a spinning top. But then I was sent off to boarding school.
For the first three years of boarding school life I was homesick and miserable. My consolation lay in music: I had an inspiring piano teacher and began learning the cello. By the age of fourteen I was taking my ‘ordinary level’ exams. I did well in maths and science subjects – except biology, which I loathed. The two sixth-form years were much happier. I had wonderful teachers in all of my school subjects, particularly in physics. We were made to feel directly involved, on the cutting edge of the search to understand the mysteries of matter, energy and the universe. I became interested in geology – especially volcanoes, and after taking my advanced-level exams went camping to Iceland with a couple of school- friends. I left school only a month after celebrating my seventeenth birthday.
At a loose end as to what to do, I worked as a warehouseman in a local supermarket and saved up to travel abroad. My dream was to go north, to Finland and Norway. In May 1966 I sailed to Helsinki, whence I travelled to Lapland. The ice was breaking up after a winter of exceptional severity, and many roads were impassable. I was determined, however, to reach the settlement of Sevettijärvi, 100 kilometres off the main road, where – according to my guide-book – there lived a still primitive tribe of Lapps, known as Skolts. When I got there I had no idea what to say or do: acutely embarrassed, I ran for it, spent the night in a derelict cabin, and returned the next morning whence I had come. This ill-fated trip had, however, ignited my curiosity, with far-reaching consequences. After that, I travelled widely in Lapland, fetching up at a farm on the north Norwegian coast where I worked for a couple of months before returning home in time to start my first term at Cambridge.
I had never given a second thought to what subjects I would study at Cambridge. It was assumed that I would take the Tripos in Natural Science. After the excitement of school science, however, lectures at Cambridge were an intense disappointment. For the first time I began to wonder why I was studying science, and what I would do with it. I found much of what I was expected to do intellectually claustrophobic, dedicated to the regimented and narrow-minded pursuit of lines of inquiry that seemed remote from experience. I don’t think I ever became radically hostile to science, as did many of my contemporaries, but I could see no future in it for myself. I wanted to study something in which there was more room to grow, where I could discover the world and myself at the same time.
Looking through the list of subjects then on offer at Cambridge, one possibility leapt to my attention. It was social anthropology. My tutor thought it just the subject for misfits like me. It appealed to me (rather as D’Arcy Thompson’s biology had done before) as a kind of pure mathematics of real life. My father arranged a meeting with the anthropologist Jean LaFontaine, then a lecturer at Birkbeck College, and she recommended that I read Fredrik Barth’s classic, Political Leadership among Swat Pathans. I was entranced by the book, and was hooked. Having completed my first year of natural science in autumn 1967, I commenced all over again as a first-year student in the Faculty of Archaeology and Anthropology. This entailed taking courses in physical anthropology and archaeology as well as social anthropology, so that I had my share of measuring fossil skulls and sorting stone tools.
I remain a believer in the integration of the three fields of anthropology – social, physical (or biological) and archaeological – and this initial training at Cambridge may have had something to do with it. Yet my teachers in these three fields had virtually nothing to do with one another. So far as the social anthropologists were concerned, the only thing that held the three fields together was an obsolete theory of progressive evolution. Unbeknown to me, I had stumbled into anthropology at the time when structural-functionalism – the ruling paradigm for the previous two decades – was about to collapse. But it had not collapsed yet. Every good anthropologist, we were told, should carry a copy of A. R. Radcliffe-Brown’s Structure and Function in Primitive Society in their breast pocket (my own copy of the book came from my sister, who had been presented with it as a school prize). American cultural anthropology was virtually taboo, and anything with a whiff of evolutionism was banished from the curriculum. Once, out of sheer curiosity, I picked up a copy of that strange little book by Marshall Sahlins and Elman Service, Evolution and Culture. I was quite excited by it. But on mentioning it to my tutor, I received a firm rebuke and was instructed never to touch such stuff again! This experience only strengthened my resolve to prove my teachers wrong, and to find a way of thinking about evolution that would enable us to reintegrate the biophysical and sociocultural dimensions of human existence through an emphasis on processes in the very long term. Though I cannot claim to have an entirely satisfactory answer yet, I have been working at it ever since.
The intellectual landscape of Cambridge anthropology in the late sixties was notably fractured. On the one side was the towering figure of Edmund Leach who at that time was aggressively championing his own idiosyncratic version of Lévi-Straussian structuralism. On the other side, Meyer Fortes was struggling to understand why people love one another even when they say they don’t, and why they hate one another despite their public displays of amity. In between them stepped the figure of Jack Goody, beard, tie and gown aligned at every possible angle to the vertical, largely incoherent in lectures, but unleashing such a torrent of ideas as to leave one breathless. By 1970, the year in which I graduated, structural-functionalism was cracking up, but no-one knew what the alternative might be. For a very brief period, it seemed that the answer might lie in what was known as social network theory. There were two varieties of this. The first emanated from the ‘Manchester School’ of Max Gluckman, the second from the ‘transactionalism’ that Fredrik Barth and his followers were propagating from their base at the University of Bergen, in Norway. I became an enthusiast for the Barthian approach: it had, after all, been Barth’s work that brought me into anthropology in the first place. I was impressed by its crystalline lucidity, and its economy of expression.
I never doubted that I would proceed to postgraduate research, and the time came when I had to decide where I would be based, and where my fieldwork would be. Usually, Cambridge-trained fieldworkers were expected to go south, to tropical Africa or Asia. To the astonishment of my mentors, I wanted to go north. Fortunately, a suitable supervisor had appeared at Cambridge in the form of John Barnes, recently appointed to the University’s first ever Chair of Sociology. Barnes was riding the crest of a wave of interest in network theory, as one of its leading proponents. With a background in the Manchester School, he had developed his ideas about networks through the analysis of material from subsequent fieldwork in rural Norway and was well known in the Barthian camp. It was arranged that I should spend some time in Barth’s department in Bergen, both prior to my departure to the field and immediately following my return.
For my fieldwork I returned to Sevettijärvi and to the Skolt Saami community that I had first visited five years previously. I had been there once again, in summer 1969, with an international voluntary work-camp, where our task had been to build concrete potato cellars. Drawing on connections from that time, and equipped with a bicycle, notebook and camera, I was soon deeply absorbed in the intricacies of reindeer herding. Indeed the sixteen months I spent with the Skolt Saami probably shaped my outlook far more than I ever realised. Though it is hard to trace the links directly, I doubt whether I would be so interested in issues of skill, environmental perception and human-animal relations, or whether I would be addressing these issues in the ways I have done, had it not been for this formative field experience. But of course I did not know this at the time.
Returning from the field in 1972, it took some time to catch up with what had been going on. Anthropology had gone through tumultuous times. Barth had abandoned Bergen for the United States, transactionalism looked like a doomed cult confined to the followers he had left behind, network theory had crashed – taking the remnants of structural-functionalism with it, people were feeling disoriented. So what had happened? Among other things, inspired by political developments in Europe, social anthropologists had rediscovered Karl Marx.
At first this made no impression on me. I was deep into explaining fluctuations in reindeer numbers, unraveling patterns of kinship, and understanding the machinations of what was then the new politics of the ‘Fourth World’. I completed my doctoral dissertation in 1975, and a monograph based on it was published the next year. Beyond a critique of the notion of ‘minority culture’, which got me into a certain amount of trouble with Saami politicians who were trading in this notion at the expense – I thought – of the local communities they claimed to represent, neither the thesis nor the book had any grand theoretical ambitions. But in the meantime my life had moved on. After a brief spell in Cambridge, followed by a year at the University of Helsinki in 1973-4, I had been offered my first proper job as Lecturer in Social Anthropology at the University of Manchester. Arriving in September 1974, I was to remain there for the next 25 years.
At Manchester, I was required to teach a course called ‘Environment and Technology’. The idea had got around that I was strong on ecological anthropology. In reality I knew virtually nothing about it, and had to learn it from scratch. It was a question of saving face by keeping one step ahead of the students. The evolution of this course, which I taught more or less continuously until 1991, is almost indistinguishable from the evolution of my own thinking over this period. From the start, we were reading the work of scholars once thought unmentionable in British social anthropological circles: Julian Steward, Leslie White, Marvin Harris. I was even able to get my own back on my undergraduate teachers by including the book they had once banned – Sahlins and Service’s Evolution and Culture – on the reading list! But we were also reading the new wave of studies coming out of, or inspired by, the neo-Marxist movement: work by Maurice Godelier, Claude Meillassoux, Emmanuel Terray, and of course Marshall Sahlins. And we were investigating the parallels and contrasts between ideas of evolution and transformation to be found in Marxism, Darwinism and classical cultural ecology. It was all very exciting. But to my departmental colleagues ‘Environment and Technology’ was always considered way out, on the edge of the known continent of anthropology. Any invocation of concepts from biology or evolutionary theory was treated with deep suspicion.
Aside from all the theory, during the early years students sat through a lot of lectures about reindeer. I had found in Lapland that while living animals belonged to people, as expected in a pastoral society, the animals themselves were virtually wild, and were mustered by means of techniques resembling those of pre-pastoral reindeer hunting. This forced me to recognise that neither hunting nor pastoralism could be understood in purely technical or ecological terms, but only as historically specific conjunctions of technoecological and social relations of production. Putting this in a Marxian framework, I developed a model to account for the transitions from hunting to pastoralism, and from pastoralism to the ranch-like system of herd management that I had observed in Lapland. In 1979-80 I carried out more fieldwork in Lapland, this time among Finnish people with a background in farming and forestry. Like the Skolt Saami, many of these people had been resettled as a result of the redrawing of the Russo-Finnish frontier in the aftermath of the Second World War, and I wanted to look comparatively at the long-term consequences of this post-war resettlement. My field material, however, has still to be properly written up, for as soon as I returned to Manchester my thoughts turned back to theory.
My book on reindeer economies and their transformations had appeared in 1980. Reactions among social anthropological colleagues were indifferent; curiously, it was among prehistoric archaeologists that the book had its greatest impact. It spoke to their concerns with long-term socioeconomic change, especially in Palaeolithic and Mesolithic Europe. This marked the beginnings of a dialogue with prehistorians that has continued to this day, and that has profoundly shaped my conception of the affinity between archaeology and anthropology. Our methods may differ, but in our concerns with time, landscape and the persistence and transformations of human ways of life in the long term, we are at one. But the reindeer book also set me off in three other directions.
The first was in the study of human-animal relations. I had been dissatisfied with the anthropological tendency to treat animals merely as the symbolic objects of an exclusively human discourse. It was clear to me that animals were sentient beings with whom we humans relate socially, just as we do with one another. We needed an anthropology that did not confine social relations to human relations. At the same time we needed to re-examine the grounds on which human beings have been conventionally distinguished from other animals. This led me to revisit the literatures on non-human primates and human evolution. I had to engage with the writings not just of prehistoric archaeologists but of biological anthropologists as well. But I also had to read literature in psychology, specifically in what was then the emergent field of animal psychology. The idea that non-human animals might have minds of their own, once anathema in psychology, had suddenly become fashionable, with the result that old questions concerning what was truly distinctive about human cognition had resurfaced in a new guise. One of the classic criteria of human distinctiveness was toolmaking, another was language. I wanted to know more about the connections, in human evolution, between language, toolmaking and cognition.
The second direction was towards a comparative anthropology of hunter-gatherer and pastoral societies. For some time I visited the anthropological ‘camps’ of both hunter-gatherer and pastoral studies, but progressively veered to the former. Students of hunting and gathering, it seemed, were still asking the fundamental questions about qualities of sociality, relations with animals and the land, the significance of place and movement, the origins of property and inequality, and so on, to which I wanted answers. In 1986 I brought out a book of essays dealing with these questions, among others, entitled The Appropriation of Nature. All of them set out from the premise that every human being is simultaneously a biological organism, caught in a web of ecological relations, and a social person, constituted within a nexus of social relations. The challenge, I thought, was to understand the dialectical interplay, over time, between these two kinds of systems, social and ecological.
Finally, I felt that there were issues about the meaning of evolution that needed to be resolved. In particular, I wanted to clarify the relation between biological evolution and human history. Is history a process that is ‘added on’ to an evolved biological baseline? Or is it simply a continuation of the evolutionary process into the domain of human affairs? To tackle these questions meant looking at the way the idea of evolution had been handled in the disciplines of biology, anthropology and history from the late nineteenth century to the present. This turned out to be a major project. The book I published in 1986, Evolution and Social Life, representing the fruits of my work to that point, was already twice as long as it should have been. And far from wrapping things up, it had only opened up greater uncertainties about how social and biological understandings could be brought together. Something, I felt, was wrong about the dualism between person and organism, and correlatively between social and ecological relations, around which my previous thinking had been organised. What was needed, I realised, was a different biology.
In 1991-92, I enjoyed a couple of years of leave. Much of this time was taken up with editorial tasks: I was editing the journal Man as well as a massive Companion Encyclopedia of Anthropology (published by Routledge in 1994). But this period of leave also gave me a moment to take stock. The ship of anthropology appeared to have capsized. Exponents of the ‘literary turn’ were drowning in their own, increasingly incomprehensible texts, while a few dogged survivors still hung to overturned lifeboats of scientific objectivity. Their protestations, however, left me cold. I felt that I was embarked on another voyage altogether. For the influences that had reshaped my thinking did not come from within anthropology. They came from biology, psychology and philosophy. In biology, I had been impressed by the work of the few scholars – mostly developmental biologists – who were seeking to go beyond the straitjacket of neo-Darwinian thinking. In psychology, nothing has influenced me more than my encounter with the ‘ecological psychology’ of James Gibson and his followers. In philosophy, I have drawn endless inspiration from dipping into the phenomenological work of Maurice Merleau-Ponty. I was struck by the parallels between Merleau-Ponty’s critique of Cartesian science, Gibson’s critique of cognitivism and the critique from developmental biology of neo-Darwinism. Putting these critiques together, I thought, offered the prospect of a powerful synthesis. Establishing this synthesis became my agenda for the 1990s.
I emerged from my cocoon of leave in 1993 to head the Manchester department, replacing Marilyn Strathern – who left for Cambridge in the same year. Balancing the administrative burdens this entailed, I had the satisfaction of developing two new advanced courses – ‘Culture, Perception and Cognition’ and ‘Anthropology of Art and Technology’ – that gave me the space to develop and try out my new ideas. These were exciting times, but opportunities to write were very limited. Relief came through a two-year award from the British Academy (1997-99), enabling me at last to assemble the fragments of my thinking into one large volume. Entitled The Perception of the Environment, it was published in 2000.
In 1999 I left Manchester to take up a newly created chair of anthropology at the University of Aberdeen. My task, here in Aberdeen, is to establish – more or less from scratch – a programme of teaching and research in the anthropology of the North. I feel I have come full circle, not just to my roots in northern circumpolar ethnography, but also to the kind of homely, experience-near science that I absorbed through my childhood. Here I am, back to a biology that owes as much to D’Arcy Thompson as to Darwin, a psychology that is as much ‘on the ground’ as ‘in the head’, and an anthropology that knows no absolute division between the person and the organism, or between social and ecological relations. And my ambitions remain as they always were: to establish a broad view of anthropology that overcomes the narrow specialism into subfields; to campaign against reductionist and intolerant approaches to culture and society, and to find a way to re-embed our experience as whole human beings within the continuum of organic life.




* Originally written as a preface for the book: Tim Ingold, 2001, Ecologia della Cultura, translated by C. Grasseni and F. Ronzon. Rome: Meltemi. We thank the author for kind permission to publish the English version here.
** Department of Anthropology. University of Aberdeen (UK).

_____________
Prof. Tim Ingold will be in Porto (Serralves) next 15th May, presenting a lecture at 21,30 h. Not to be missed, of course. With the kind permission of the association SPAE I include this text here as an introduction to the session (VOJ).





Faculty of Arts. 2005.


Photos: VOJ


segunda-feira, 31 de março de 2008

THE PAST ON STAGE: SOME NOTES, by Vítor Oliveira Jorge (2004)

Porto 2004
Archaeology/Performance

THE PAST ON STAGE: SOME NOTES

by Vítor Oliveira Jorge

Department of Heritage Sciences and Techniques (DCTP), Faculty of Arts, University of Porto, Portugal – web page: http://www.architectures.home.sapo.pt

Translation into English: Daniela Kato

“To contemplate ruins makes you fleetingly aware of the existence of a time which is not the time in history books, nor the time that restoration attempts to bring back to life. It is a sheer time, unlocatable, absent from our world of images, simulacra, and reconstitutions, from our violent world whose debris can no longer afford the time to become ruins. A lost time which only art can retrieve.”

Marc Augé From the introduction to Le Temps en Ruines / Time in Ruins, 2003.

“The setting is the space in which, in an interval determined throughout the course of a celebration or the performing of a ritual, something that usually remains invisible becomes visible: gods, demons and heroes, performed by men-in-masks and reduced to a state of play; but it is also the conflicts, in the same way that objects are removed away from sight. It is a space, a microcosm, symbolizing the world and thereby the object of sacralization even in our own secular societies.”

Trans. from Enciclopédia Einaudi, vol. 32, “Cena” / Setting (L. Zorzi), p. 416.

“Everything is meant to be seen, because everything is visible, because nothing should be hidden away.

“One could hardly imagine how the ‘work of representation’, which pressuposes a distance necessary for the acquisition of knowledge, as well as for aesthetic perception, could still fulfil itself when everything is prone to display or exhibition. Even when affirming its will-to-modernity, museum didactics is marked by its own anachronism, since it merely creates the illusion of institutional control over the hysteria of the gaze.”

H.-P. Jeudi, 1995, p. 9.

To connect theatre and archaeology, namely by means of the idea of “staging” and “acting” (“performance”): is this only apparently an original connection, within the “postmodern tendency” to establish unexpected relationships – which to some is superficial and inconsequential – or, on the contrary, is it a form of interdisciplinary reflection in its most recent and fruitful sense, that is to say, not just enunciating interdisciplinarity as intention or desire, but actually inhabiting it without further preliminaries? I am obviously inclined to choose the latter hypothesis.

We live in a society of indifferentiation between the real and the virtual, characterized by the general consumption of everything as commodity, by the high-speed fruition of experiences, atmospheres, environments. As Marc Augé writes (2001, p. 91), we spend our lives drowned in evidence, in the eternal present, in the “trop-plein” (that is, inside something which is already “filled up to its brim”); in a society characterized by “zapping”, keeping us under the illusion that we are watching the theatre of the world, in its resplendent totality, within space and time. We sit before any screen, before any window with a view to reality, and hedonistically prepare ourselves to enjoy.

In fact, that is what the theatre (and in Greek the word denotes the site from which the performance is seen) has always provided us with, whether in more naïve ways or in more sophisticated ones: we sit ourselves before a stage, let the curtains open above a made-up reality, although everything seemingly happens in that very instant (which is true, to a certain extent), and let ourselves become involved, fascinated, as if it were life itself. To stage is to speak the truth by means of a lie; and all this begins in the actors themselves, who embody a character and have to let themselves merge into her/him. They have to enact, on stage, what we do in the course of our daily lives: to perform roles, to assume different identities, or, if you will, to attempt a balance between sameness and otherness, in a perpetual game of masks.

By resorting to their own bodies as a working instrument, the actors undergo a process of de-personalization, making public their singularity, and thereby displaying it as simulacrum – that is, as something which does not belong to them, which is part of another character that they objectify or incarnate. In their nakedness, in their bareness before a judging audience, whom they attempt to seduce at all costs, the actors throw themselves onto a razor’s edge. An actor cannot afford to fail, that is to say, s/he always has to be between the real (as an actor s/he is pretending) and the virtual (the character has to be authentic enough to persuade us, to move us, to seduce us, to involve us). They conjure, reactivate, reintegrate a whole experience which is meant to be lived as a performance, as something which always leaves us suspended between two worlds: fiction and real life.

Within such a relationship of complicity, both elements – actors and audience – agree to play this serious game: a game which utterly involves us all. It is therefore not surprising that performance has its origins in religion and ritual and is rooted in the most immemorial and recondite dimension of ourselves. A body and a fragment of space / time are all the theatre needs to begin, beyond the alleged aquiescence of others. Even the distantiation of the audience and an atmosphere (lights, etc.) are dispensable at the outset; they can be created afterwards, throughout the course of the performance, as a kind of force involving all the participants in the end.

Acting is therefore to re-enact, to pretend that everything is happening in the present, while in fact reactivating energies, reminiscences, memories, forms of affection that are enthralling and can be shared only to the extent that they originate in the past. Acting means conveying to the stage what in other contexts / moments could be considered obscene, implausible, disturbing, unbearable. An intensity which takes pity upon human temporality and its attendant daily routines.

Theatre means a dis-traction from those routines, an escape from the banality of daily life and from an overly ordered, extensive reality, in order to allow room for a more real, intense reality. And, once again, the parallel between representation and ritual assumes particular relevance. It is everyone’s profound belief in ritual, its magnetizing potential which attracts participation, thereby releasing the collective energies on which the ritual feeds itself and derives the single possibility of remaining a “serious affair”, or the “serious affair par excellence”. Should anyone show disbelief or refuse to participate, or to get involved, the ritual will find itself reduced to the condition of a foreign, exotic, wild, or even ridiculous object. As in numerous ethnological reports aimed to carnavalise the other, to convert the person – the “persona”, the actor – into some sort of clown, into an exotic being, dressed bizarrely, staring, zombie-like, at a camera.

Archaeology plays, precisely, with all these ambiguities.

Archaeology aims not so much to reconstitute the past as something distant, remote, fleeting, but to reactivate it, to re-live it, to present it to others. In this respect, the archaeologist, like the actor, is a mediator, someone who establishes a link between past and present, between past experiences and present ones. The archaeologist speaks of an absence – an absence that he attempts neverhteless to bring into the present, not as nostalgia or loss, but in the form of contemporary action or production. An action at various levels: in the archaeologist’s activity as observer, prospector, excavator, interpreter, producer of narratives by means of text, discourse, the museum, the exhibition, visits to sites, places, landscapes, and the very ability to “set things going again”, thereby enacting its simulation, its representation in virtual (the computer) or real spaces. The archaeologist is therefore himself an actor, an interpreter, to whom society assigns a role: the representation of the past for collective benefit, here and now. As in any theatre play.

The round-table discussion “The Past on Stage” (Oporto, Rivoli Theatre, November 2004) was oriented towards an anthropological perspective, in the sense that it attempts to look at social reality – including our own – as an “other-reality”, that is, as something which is not “natural”, butn on the contrary, a particular historical outcome, among a set of many other theoretical possibilities. In fact, a combination of practices and beliefs, behaviours and desires – some inherited from the past, others only recently acquired – and forming a mosaic that raises problems and interrogations. Hence, it provides us with a most relevant topic for debate.

We set out to reflect on the meaning surrounding the concerns that our modern and, in particular, “supermodern” (or post-modern) societies show about conservation, restoration, heritage, representation (i.e. staging). These concerns are, moreover, directed towards the leisure of increasing masses of the public, towards manifold “fragments of reality”: objects, works of art, testimonies to times past, archaeological sites and monuments, landscapes or territories (parks, protected areas), or even the life of populations, “caught” in their “authentic” daily routines.

In such society, based upon the evident and the present, there is a tendency to represent, within “time capsules”, the totality of human life in the shape of objects and spaces easily seen and deciphered, thereby converting into seemingly “natural” narratives, discourses, and interpretations, objects which are actually “fabricated”, in the sense that they are the outcome of labour. It is interesting to note that very often we find in these places the coexistence of the principles of the museum (the preservation and handing down of the past), of the theatre (the representation of the past), and of the shopping mall (the consumption of the past). This is precisely the work of museologists, archaeologists, ethnologists, architects, restorers, producers of shows and other events, performing artists – in sum, of all of those who seek, each from a different point of view and according to their respective abilities as agents, to take part in the modern organization of time and territory, as well as in culture and leisure programming.

But all these productions contribute to an overlapping of narratives, with each one attempting to fill in the space / time gaps, to introduce order, to provide those spaces / times with continuity, intelligibility, transparency and fluidity – in a word, to provide the life of the citizens with meaning. From the perspective of these productions and representations of meaning, common space is no longer a mere support or container of services and resources for immediate use; on the contrary, it constantly gains strength from windows opened towards the past and the future, which are thus brought back to everyday reality, to the present, with a reassuring purpose.

Heritage, as we all know, is connected with a sense of permanent loss, which is felt as the absence of a common good, no longer a legacy but, in a broader sense, a comprehensive resource, a galvanizing process. This general resource is, by definition, constantly under threat. This threat is embodied by the vested (though often concealed) interests of “development” – that is, the modernization and homegeneization of the world, the well-known globalization and its attendant paradoxes. However, the obsession with loss may as well become a symptom of unease or even nostalgia for a lost transcendence, which no modern ideology or grand redempting narrative has as yet managed to replace.

It is possible to locate several discourses or ideologies working underneath this general emphasis on heritage. I shall now present a very brief and, of necessity, oversimplified characterization of some of these discourses / ideologies.

On the one hand, we have a nostalgic discourse which, being hostile towards concessions to the masses, aspires to keep the “practice of the past” reserved for a few only . It admits only the minimum degree of intervention in archaeological sites, always resorting to the spectre of vandalism to defend values that it considers (often rightly) unique and therefore indestructible. Such an attitude is, as often as not, suspicious of the “heritage-mania”, of the overestimation (or even obsessive repetition) of commemorations and monuments – as if it were possible to expand a practice which is intimately linked to tourism (and thus highly profitable) and, at the same time, to enclose it within a strictly pre-defined frame of access and fruition. Many times “intellectuals” and scientists find themselves unwittingly on this side of the barricade. This is because research poses new questions as well as multiple possibilities all the time, whereas the answers or explanations that the public demands forces the former to withdraw or suspend the process of questioning, leading thus to the presentation of a more feasible version of what is expounded. All artists, all museologists, all actors, all playwrights, all novelists know that. Because the very reason for bringing something to public attention is precisely to make its sense visible and evident to everybody, this sense is converted into a common sense.

On the other hand, the culture and heritage industries (which should ideally work alongside contemporary artistic productions) generate new jobs, even though in many cases these jobs are precarious, temporary and low-paid. Young people willingly participate in this movement, since it allows them to take an active role in society, even when activities such as “emergency archaeology”, or labour strictly subject to the play of market forces prevent them from fulfilling their original dreams – dreams in which a degree of idealism mingled with a genuine wish to carry out research and a creative activity. Hence the discourse of these young people very often assumes an optimistic tone – a phenomenon that is not too difficult to understand if we take into account that they were born in a society in which fierce competition, short-term profit, individualism, and immediate success were already the order of the day. And very often too, they do not fully realize that heritage-oriented movements collaborate, in their own fragile ways, in the homogeneization of the world. And we say fragile, because the material conditions of production and publicizing at their disposal are infinitely smaller than those at the disposal of other fields (including the production of easily marketable entertainment).

Heritage as a re-activating force or energy – the staging of the past – no longer belongs to an elite, as the contemplation of ruins did in romantic times; it is now an effective industry within a free market society, within a formal democracy dominated by consumptiom, the acceleration of life and mass tourism. Nevertheless, heritage assumes such fundamental importance to our future that we cannot possibly leave it to the care of “experts” alone. Considering that heritage is potentially a promoter of happiness and pleasure, we should all have a word to say about it.

The participants in the Oporto round-table discussion do not claim to say their last word on such a slippery and complex ground. Actually, to lay claim that one has said the last word on anything is, in our time, quite simply beyond the pale. Our sole aim is to allow for the exchange of different viewpoints and experiences among people involved in distinct kinds of “theatre”, resorting to a great range of materials which vary from field to field, but which nevertheless have many points in common. All in all, we are concerned with the enlargement of the debate over one of the most obvious features of modernity: the socialization of a common past. In other words, it is our aim to bring a once “aristocratic” object of consumption to a terrain where meaning can be shared, discussed, demystified and thus pluralized. This implies a perpetual renewal of staging, no matter how mythical or difficult the latter might appear to us. The performance begins within a few moments. Or perhaps we should say: the performance has always been there.

Oporto, November 2004

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Source:
http://humanitieslab.stanford.edu/ArchaeologyPerformance/20