A museum exhibition allows for close encounters with material objects. However, the distancing effect of the glass surfaces of display cases, as well as twodimensional text and picture panels, often seems to counteract the visitor’s sense of experiencing the three-dimensional material qualities of museum objects. In order to challenge this distancing effect, this article proposes an approach to spatial exhibition design that takes material aspects of both museum objects and exhibition design practices into close consideration. By developing the concept of material proximity, the article investigates the intimate space between museum object and visitor in which the object’s material qualities can be activated and interpreted. Based on an interdisciplinary bridging between different concepts of materiality from museum studies and architecture, the article concretizes the concept of material proximity through empirical analysis of a series of experimental display designs carried out at Medical Museion (the medical museum of the University of Copenhagen).
Experimenting with Material Strategies in Spatial Exhibition Design
Housing Brokers and the Mediation of Risk in Migrant Moscow
brokerage had become merely a source of income. He , after all, still worked a proper nine-to-five job, and he lived in the same apartment as those to whom he sublet mattress space. It was the very proximity between himself and those he served, he insisted
Why Revisit Intimacy?
Sertaç Sehlikoglu and Aslı Zengin
Intimacy is tightly bound up with notions of privacy, sexuality, proximity and secrecy, and with dynamics of sensual and affective attachments and forms of desire. It is therefore integral to the formation of human selves and subjectivities, as well as communities, publics, collectives and socialities. The articles in this Special Section all offer an anthropological inquiry into intimacy, seeking a conceptual formulation that might capture its actual operations, the ways intimacy is done in talk and action. They thus contribute ethnographically to ongoing anthropological debates about intimacy, and explore how multiple domains and forms of intimacies are defined, shaped, constructed and transformed across different social worlds.
Sartre's recollection, in Les Mots, of his first visit to the cinema is a multi-layered and ambivalent text through which Sartre proposes a number of interlocking arguments: concerning the contrast between the 'sacred' space of the theatre and the non-ceremonial space of the cinema, between the theatre as associated with paternal authority, and the cinema as associated with a clandestine bond with the mother. But the text also sets up a quasi-sociological account of the public Sartre encounters in the cinema itself as revealing to him the truth of the social bond, a truth he expresses with the term 'adherence', and which he says he only rediscovered in his experience of being a prisoner in the Stalag in 1940. Rather than the basis of a sociological account of the social bond, which would seem at odds with Sartre's social philosophy, I read this as the expression of a desire for physical proximity. The space of the cinema thus develops a fantasy, and this is in continuity with the role of the cinema in the evolution traced in Les Mots, in which it is described as instigating a withdrawal into imaginary life and an indulgence in daydreaming. Through reference to Christian Metz and to Roland Barthes, whose essay 'En sortant du cinéma' is proposed as a parallel and a response to Sartre, I suggest that the 'true bond' of adherence which Sartre encounters is an unconscious rather than an epistemological truth.
The experience of young German adults in everyday encounters with the Holocaust
Lisa J. Krieg
relation between distance and proximity, framing it in terms of Douglas’s disorder, Freud’s uncanny, and Ahmed’s strangeness ( Ahmed 2000 ; Douglas 1966 ; Freud 1919 ). First, I outline my theoretical understanding of experience, which is mainly based on
Materializing Affinity in Japanese Foster and Adoptive Care
Kathryn E. Goldfarb
, made ties that explicitly span difference. Focusing on the uses of these two terms, I explore the ways in which durable relational ties are embodied through physical similarity and caring proximity but at the same time always embrace or are haunted by
From Dubs to Doubt
Rachel Rosen and Sarah Crafter
clarify here that this was more a spectacle of, rather than intimate, proximity. Most people in the UK had no direct contact with separated children coming under Dubs given the small numbers relocated under the scheme. However, this specter of proximity
avenues, a possible means by which anthropology takes measure of the distance or proximity between it and secular state power, through which it operates. I must stress that this article does not aim to ‘unmask’ secularism as an illusory ideology of
Jhumpa Lahiri’s In Other Words
Mohammad Shafiqul Islam
English. I’d already noticed it in Italy, translating myself. But I think that emotional distance is always more pronounced, more piercing, when, in spite of proximity, there remains an abyss. 43 Learning Italian as an adult is, no doubt, an arduous task
Constructing proximity and distance through a Kenyan gated high-rise
The global proliferation of elite high-rise apartments is often read as evidence of social failure, of increasing socioeconomic disparity and fragmentation. The Jaffery Complex, a vertiginous gated high-rise being constructed in the Kenyan port of Mombasa, seems to embody Corbusian ideologies of social transformation based on an explicit distancing from the streets below, insulating its incoming residents from the frequently fused threats of terror, poverty, and crime. However, ethnographic attention to the multistory mosque located within the complex challenges readings of elite stacked housing solutions as “vertical cocoons,” and reveals the tension between proximity and distance that this urban redevelopment strives to construct.