Is entrepreneurship an obstacle? The dominant powers of our time (hegemonies) Walle writes cannot be ignored and to these we need to relate to. Yes. At the EAA symposium 2017 international archaeologist sympathetic to art (Michael Shanks) gave key note about the LIBIDINAL society we live in where POETRY and DESIRE are the main drivers. Archeologists are all too aware of these forces and are well schooled in philosophy not least those about power and especially ritual. The previous EAA meeting in Glasgow had been about MOBILITY, just this point about lack of freedom regarding essentially SPACE that individuals can or cannot inhabit because of power, especially in relation to the time-compression space. Walle mentions society is out of balance. I know what he means but SOCIETY IS. It is not something that is something or not something else, I think, it just IS. This is just a pedantic point perhaps and one where a discussion about existentialism might be a future round-the-fire topic. I think it is the power-imbalance in society that is making human bodies FEEL out of balance. Moving on, he mentions that Things Are Powerful Because They Are Old and archaeologists are all too well aware of this and often feel the need to sensationalize what they do in order to get resources and funding. However this is what I see is also out of balance, e.g., I quote from my research in relation to building a SOUNDmound at Sandby borg:
The massacre which took place at this site leaving about two hundred murdered bodies undisturbed until 2010, took place around 470 and only part of the site has been excavated to date (Alfsdotter, Papmehl-Dufay, & Victor, 2018 –in print). The massacre is described as “a moment frozen in time” (ibid.) but places are far from frozen in time by moments; “if places can be conceptualized in terms of the social interactions which they tie together, then it is also the case that these interactions themselves are not motionless things, frozen in time” (Massey 1994:155).
Taking the point about movement and things not being frozen in time, I would like to mention Hans remark about consumers being sold things that are no longer a teleological concern (as there is no resolution , (I interpret resolution = synchrony of a Marxist dialectic). If this is the same as the moving movement then is it possible to see homologies: – between non-teleological rhetoric; the plastic non-linearity – the experimental – the poetics of the sketch; Derrida’s “free play” and open-ended transcoding; and the DIACHRONIC? Is this what consumers are actually being sold and hypnotized by, as in this oscillation of the moving movement? Are we all caught up in the oscillation/hovering that exists in ‘the poetics of the sketch.’ I think it might be the same thing. If it is, not only can we relate to the hegemonies but our work embodies the strategy that has now been stolen and re-marketed as ‘human desire and poetics’ which is apparently, according to Michael Shanks what we have been doing all along.
There had been discussions about STORIES and ‘the experience society’ and we had been urged to consider story telling in archaeology (both about we do as archaeologists [the I as IT] and about the past perspective as in material culture of things) in terms of what it means to be human, collective belonging and what else there is out there; the meta-stories of archaeology (Holtorf 2010). Now the climate has moved again, it seems. Have we moved away from what economists had called the ‘experience society’? I am sorry I missed Hans lecture; I was cremating my dad at the time.
A great lecture about heritage is Cornelius’ how the future is made through heritage. (SEE LINK AT BOTTOM). Heritage is not about things but about people, or that is how I interpret his teaching. Coming back to entrepreneurship an obstacle: I don’t see any difference between these things, i.e., artist, archaeologists, entrepreneur – they are all brands too. The key for me is not to find the different ways to work in-between but to rediscover what as a child I have had removed by the powers. Powers like being encouraged to be the best. I tried to be the best. When I got my degree certificate in music in 1989 I tore it up. I had become the degree certificate and I demonstrated how I felt about myself. I had been raised in part by a Ghanaian uncle who established the African heritage village (AKLOWA) outside London in 1977. Everyone is a musician and a dancer in Ghana – it is not the reserve of an elite expert. I tried to hold on to this but it is often inside the realms of possibility in relation to the powers in these Western societies. The white West overdosed on privilege. No wonder we feel out of balance, like complaining that we have a hangover after getting drunk and complaining we were abused. The question is how to reframe the perspectives and do so without pretention. These our rituals we make now to leave new traces of the present-past for the future and often these are manifest in THINGS.
The TV documentary HUMAN on SVT play has been AMAZING!! I think GEOGRAPHY has the case.
I apologize for any crudeness. Crudity, like sarcasm is something my own British culture seems to have imprinted on me. It is a survival mechanism; often in dissonance with a soft fascism Hans alludes to. I reflect on “Improving Somalis’ Situation in Sweden: a study on how cultural heritage can be applied to support integration” by Abdi-Noor Mohamed, Linnéuniversitet. He writes how many asylum seekers spend their first night in their new apartment hungry because they do not know how to use the microwave or open the food that is plastic wrapped in their fridge. He writes that Somalis are used to fixing things and not just buying something new when something breaks. It makes me think of Ove, the drama I watched over Christmas. Ove went and complained about the quality of the rope he bought which had broken in the middle of something important.