How to Apologize an Object
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Dear Writer，
The maximum word count is 1500, the minimum should not be less than 1350. I have uploaded a screenshot, containing the 'name of the object. '
(this is the instruction of ) THE OBJECT PROJECT ASSESSMENT
“WRITING WITH OBJECTS”
Over the course of Term 1, you have explored a range of theoretical and methodological tools that can help you examine objects and the artefactual world from a material culture perspective. We have examined theory regarding the material presence of the object itself, the museum context they have been traditionally set within, art as both agent and as practice, and the image as something both digitally networked and powerful on both an individual and political level. Moreover, we have undertaken practical fieldwork in order to undertake an engaged, sensory analysis of objects, a critical museology, a curatorial methodology, and a wider analysis of the image as both analogue and digital object.
Now, with your final object project “Writing with Objects”, we want you to undertake a project which uses these skills to undertake an object centred project, learning how to use visual information and objects as a primary source for thinking, writing and analysis.
First you will choose an object from the Ethnographic Collection online catalogue; a group of artefacts will be given to you as a suggested starting point; however you can choose from the entire collection if you wish. At this point, you can choose from a number of different styles of writing that all use objects as a starting point for analysis. Select some readings from the below list of options in order to assess which style you would like to choose. From an object biography, a focus on materials, collection, agency, to a speculative fiction or a more centred historical analysis, you must decide how you want to approach your artefact. Whichever approach you take, the key will be to keep the object at the centre of your analysis, ensuring that the ideas developed are centred upon the artefact itself. The point of “Writing with Objects” is thus not to produce something necessarily factual or correct, but to train yourself to focus on the object first and foremost. Here you will thus learn the craft of ethnographic writing as centred upon objects, thinking about theories of material culture and the way in which different forms of writing lead to different forms of interpretation. See a selected group of suggested objects here and the full catalogue here. IMPORTANT!! ***(I have uploaded all the reading certiria, Please go through of them and choose which style you preferred)
example Texts (all the below will be made available after reading week):
1. Janet Hoskins Biographical Objects: how Things Tell the Stories of People's Lives
2. James Fenton The Pitt-Rivers Museum, Oxford
3. Sophie calle The Hotel
4. Leanne Shapton Important Artifacts and Personal Property from the Collection of Lenore Doolan and Harold Morris: Including Books, Street Fashion and Jewelry
5. Sheila Heti, Heidi Julavits and Leanne Shapton Women in Clothes
6. Elizabeth Chin My Life with Things (book review and interview here)
7. Karl Marx The Fetishism Of Commodities And The Secret Thereof (here)
8. Igor Kopytof The Biographical Approach (excerpt)
9. Roland Barthes Mythologies
10. Susan Hillier Working Through Objects
11. James Clifford On Collecting Art and Culture
12. Joseph Dumit Writing the Implosion - Teaching the World One Thing at a Time
this is part of the instructions for citation, (#8) " In anthropology, we use the author-date in-text citation format (rather than footnotes), and all referenced sources should be listed under the title "References" at the end of the document. When citing published literature, always include dates with author's names mentioned in the text, e.g., Durkheim (1912). Always provide page numbers with quotations or direct references to specific points or PASSages in the literature." Kindly provide an author-date style paper.
the following is the note I have taken.
Please use the methodology conclusion - to reflect on your methods
Year: not sure, but it's around 2010
major Materials: Wood, Plastic, Stickers, Painting by hand (100% handmade)
weight: 373.0g
The seat was made by Sponge, above is the yellow flash sticker
Motorbike handlebars are removable
Most of the joints are secured by screws （ details should refer to the photos)on-movable front wheels （it's fixed)
(guess it was made in a countryside/ rural area)
all the stickers ( Irregular shape stickers )are cut by people (the whole model is 100% handmade )
Flowers are painted by hand
Glue was been used to make it more stable
The trunk is shining -- therefore, some upper states will take this trunk to transport
if there have any questions plz let me know.
thank you!!!
this link contains photos and short videos of the trunk. If you cannot open it please let me know and I'll try to find another solution of it.
https://dropmefiles(dot)com/OsMLz
OBJECT PROJECT
Student’s Name
Institutional Affiliation
Course
Date
Object Project
Humans utilize different sensory approaches to interpret the objects or environment that they interact with. They may use the sense of smell, hearing, touch, or sight to understand the message that the environment presents. Writing with objects involves the use of visual perception to understand the environment in which the object exists. In conducting such an analysis, we assess the thing and its surroundings to conclude when the object was crafted or when the image was taken, the culture of the people who undertook it, and the period when it was taken. Closer analysis may even reveal more salient features. For example, assessment of Sophie Calle’s photos of “The Hotel, Room 47” reveals a hotel structure based on the notable characteristics that include a bed, a suitcase, a bathroom, and everything else that characterize a room only suited for short term stay (Calle, 1984). Therefore, assessment of an object should not only involve looking at the specific image, but also considering the surrounding features that provide a better interpretation of the message behind the image. Assessment of the Model truck shown below with the accompanying information can help one to determine the period in which it was taken and its location.
The first thing that one notices when conducting an object analysis is its form. One assesses the type of object and tries to relate it to what they are familiar with. It is worth noting that similar objects may have different names in different cultures. Consequently, it is essential to identify the object's location, which is readily accessible on its canvas. Assessment of the object’s location provides one with an idea about its context. Similarly, when assessing the context in which a text was written, the reference to certain objects or animals can also help to determine the context of the literary object. For example, in the assessment of the objects used in “The Pitt-Rivers Museum, Oxford” by James Fenton reveal a country that was characterized by the existence of the Torres and aboriginal tribes (Fenton, 1984). Therefore, assessment of the picture provided would also entail relating the model truck in terms of its name to its cultural setting.
The object presented is that of the auto-rickshaw, a common means of transport in Asia. While the vehicle is common in Asia, it has spread out to various parts of the world, with the Thai’s nicknaming it as tuk-tuk (Lim, 2017). Therefore, before one even checks the information from the canvas to determine the location of the object, it is easy to tell that the object is from Asia because of its popularity in the region. It is the same approach that museums use in remembrance of certain cultures (“Museum and Memory Culture”). It allows an analysis of the object’s history as inspired by the culture of the context in which it was formed. As Hiller attests, working in a museum can help one to think about various issues and assess a set of histories that inspired the development of specific objects (Hiller, 1994). Similarly, for the object provided, one can easily identify the culture in which it was formed by considering the canvas information, from which it becomes easier to assess not only the history of the object, but also that of the society in which it was created.
Tuk-tuks draw their history from the Asian continent, which evolved as a relative of the rickshaw and meant for short distance transportation. A careful look at the object reveals a culture that embraced diversity owing to the paintings of the different colors on the object (Fleming, 2021). This painting is similar to the one below, which was also painted by a Filipino artist.
Source: https://learnodo-newtonic.com/famous-filipino-paintings
The model truck was made in approximately 2010, a period when the Philippines interact with people from different parts of the world, which exposes them to diverse culture. The truck is made of wood, plastic, stickers, and painting by hand, which reveals a society that has maintained its culture in the face of the changing world. As Buchiblo (2020) posits, indigenous woodcarving is one of the most notable traditional arts in the Philippines. Another sample image painted from wood is shown below.
Source: https://the-buchiblo.com/en/2020/08/19/visual-arts-in-philippines/#:~:text=Indigenous%20woodcarving%20is%20one%20of%20the%20most%20notable,of%20a%20wooden%20boat%20dating%20to%20320%20AD.
Therefore, the background information about the object helps to give the specific location of where the object was created, allowing one to get a clearer perspective of the culture of the surrounding people (Tsihrintzis, Maria, & Lakhmi, 2013). Based on the canvas information of our object of interest, the picture was taken in the Philippines, which is home to a variety of cats, some of them resembling leopards. Some of these cats are domesticated, whereas others are found in museums, which explains the use of the ca...