Art, Observation, and an Anthropology of Illustration examines the role of sketches, drawings and other artworks in our understanding of human cultures of the past. Bringing together art historians and anthropologists, it presents a selection of detailed case studies of various bodies of work produced by non-Western and Western artists from different world regions and from different time periods (from Native North America, Cameroon, and Nepal, to Italy, Solomon Islands, and Mexico) to explore the contemporary relevance and challenges implicit in artistic renditions of past peoples and places. In an age when identities are partially constructed on the basis of existing visual records, the book asks important questions about the nature of observation and the inclusion of culturally-relevant information in artistic representations. How reliable are watercolours, paintings, or sketches for the understanding of past ways of life? How do old images of bygone peoples relate to art historical and anthropological canons? How have these images and technologies of representation been used to describe, illustrate, or explain unknown realities? The book is an essential tool for art historians, anthropologists, and anyone who wants to understand how the observation of different realities has impacted upon the production of art and visual cultures. Incorporating current methodological and theoretical tools, the 10 chapters collected here expand the area of connection between the disciplines of art history and anthropology, bringing into sharp focus the multiple intersections of objectivity, evidence, and artistic licence.

Art, Observation, and an Anthropology of Illustration examines the role of sketches, drawings and other artworks in our understanding of human cultures of the past. Bringing together art historians and anthropologists, it presents a selection of detailed case studies of various bodies of work produced by non-Western and Western artists from different world regions and from different time periods (from Native North America, Cameroon, and Nepal, to Italy, Solomon Islands, and Mexico) to explore the contemporary relevance and challenges implicit in artistic renditions of past peoples and places. In an age when identities are partially constructed on the basis of existing visual records, the book asks important questions about the nature of observation and the inclusion of culturally-relevant information in artistic representations. How reliable are watercolours, paintings, or sketches for the understanding of past ways of life? How do old images of bygone peoples relate to art historical and anthropological canons? How have these images and technologies of representation been used to describe, illustrate, or explain unknown realities? The book is an essential tool for art historians, anthropologists, and anyone who wants to understand how the observation of different realities has impacted upon the production of art and visual cultures. Incorporating current methodological and theoretical tools, the 10 chapters collected here expand the area of connection between the disciplines of art history and anthropology, bringing into sharp focus the multiple intersections of objectivity, evidence, and artistic licence.

Of all avian groups, birds of prey in particular have long been a prominent subject of fascination in many human societies. This book demonstrates that the art and materiality of human engagements with raptors has been significant through deep time and across the world, from earliest prehistory to Indigenous thinking in the present day. Drawing on a wide range of global case studies and a plurality of complementary perspectives, it explores the varied and fluid dynamics between humans and birds of prey as evidenced in this diverse art-historical and archaeological record. From their depictions as powerful beings in visual art and their important roles in Indigenous mythologies, to the significance of their body parts as active agents in religious rituals, the intentional deposition of their faunal remains and the display of their preserved bodies in museums, there is no doubt that birds of prey have been figures of great import for the shaping of human society and culture. However, several of the chapters in this volume are particularly concerned with looking beyond the culture–nature dichotomy and human-centred accounts to explore perspectival and other post-humanist thinking on human–raptor ontologies and epistemologies. The contributors recognize that human–raptor relationships are not driven exclusively by human intentionality, and that when these species meet they relate-to and become-with one another. This 'raptor-with-human'-focused approach allows for a productive re-framing of questions about human–raptor interstices, enables fresh thinking about established evidence and offers signposts for present and future intra-actions with birds of prey.

Thoughts on Interaction Design, Second Edition, contemplates and contributes to the theory of Interaction Design by exploring the semantic connections that live between technology and form that are brought to life when someone uses a product. It defines Interaction Design in a way that emphasizes the intellectual and cultural facets of the discipline. This edition explores how changes in the economic climate, increased connectivity, and international adoption of technology affect designing for behavior and the nature of design itself. Ultimately, the text exists to provide a definition that encompasses the intellectual facets of the field, the conceptual underpinnings of interaction design as a legitimate human-centered field, and the particular methods used by practitioners in their day-to-day experiences. This text is recommended for practicing designers: interaction designers, industrial designers, UX practitioners, graphic designers, interface designers, and managers. - Provides new and fresh insights on designing for behavior in a world of increased connectivity and mobility and how design education has evolved over the decades - Maintains the informal-yet-informative voice that made the first edition so popular

The four-volume set LNCS 13311 - 13314 constitutes the refereed proceedings of the 14th International Conference on Cross-Cultural Design, CCD 2022, which was held as part of HCI International 2022 and took place virtually during June 26 - July 1, 2022. The papers included in the HCII-CCD volume set were organized in topical sections as follows: Part I: Cross-Cultural Interaction Design; Collaborative and Participatory Cross-Cultural Design; Cross-Cultural Differences and HCI; Aspects of Intercultural Design Part II: Cross-Cultural Learning, Training, and Education; Cross-Cultural Design in Arts and Music; Creative Industries and Cultural Heritage under a Cross-Cultural Perspective; Cross-Cultural Virtual Reality and Games Part III: Intercultural Business Communication; Intercultural Business Communication; HCI and the Global Social Change Imposed by COVID-19; Intercultural Design for Well-being and Inclusiveness Part IV: Cross-Cultural Product and Service Design; Cross-Cultural Mobility and Automotive UX Design; Design and Culture in Social Development and Digital Transformation of Cities and Urban Areas; Cross-Cultural Design in Intelligent Environments.

This book focuses on the reconfiguration of aesthetic anthropology into an anthropological problem of cogitation, opening up a fascinating new dialogue between the domains of anthropology, philosophy, and art. Tarek Elhaik embarks on an inquiry composed of a series of cogitations based on fieldwork in an ecology of artistic and scientific practices: from conceptual art exhibitions to architectural environments; from photographic montages to the videotaping of spirit seances; and from artistic interventions in natural history museums to ongoing dialogues between performance artists and marine scientists. The chapters examine the image-work, ethical demands, and aesthetic struggles of interlocutors including artists Mathias Goeritz, Mounir Fatmi, Silvia Gruner, Joan Jonas, and Patricia Lagarde.

Organised around the theme of beauty, this innovative collection offers insight into the development of anthropological thinking on art, aesthetics and creativity in recent years. The volume incorporates current work on perception and generative processes, and seeks to move beyond a purely aesthetic and relativist stance. The chapters invite readers to consider how people sense and seek out beauty, whether through acts of human creativity and production; through sensory experience of sound, light or touch, or experiencing architecture; visiting heritage sites or ancient buildings; experiencing the environment through ‘places of outstanding natural beauty’; or through cooperative action, machine-engineering or designing for the future.

The Routledge Companion to Practicing Anthropology and Design provides a comprehensive overview of the history of the relationship between these two fields and their current state, outlining key concepts and current debates as well as positing directions for future practice and research. Bringing together original work from a diverse group of established and emerging professionals, this volume joins a wider conversation about the trajectory of this transdisciplinary movement inspired by the continuing evolution of anthropology and design as they have adapted to accelerating and unpredictable conditions in arenas that span sectors, economies, socio-cultural groups, and geographies. It homes in on both the growing convergence and tensions between them while exploring how individuals from both fields have found ways of mixing, experimenting, and evolving theory and new forms of practice, highlighting the experimental theories and practices their transdisciplinarity has generated. The Routledge Companion to Practicing Anthropology and Design is a valuable reference tool for practitioners, scholars, and upper-level students in the fields of anthropology and design as well as related disciplines.

Anthropology is a disciplined inquiry into the conditions and potentials of human life. Generations of theorists, however, have expunged life from their accounts, treating it as the mere output of patterns, codes, structures or systems variously defined as genetic or cultural, natural or social. Building on his classic work The Perception of the Environment, Tim Ingold sets out to restore life to where it should belong, at the heart of anthropological concern. Being Alive ranges over such themes as the vitality of materials; what it means to make things; the perception and formation of the ground; the mingling of earth and sky in the weather-world; the experiences of light, sound and feeling; the role of storytelling in the integration of knowledge; and the potential of drawing to unite observation and description. Our humanity, Ingold argues, does not come ready-made but is continually fashioned in our movements along ways of life. Starting from the idea of life as a process of wayfaring, Ingold presents a radically new understanding of movement, knowledge and description as dimensions not just of being in the world, but of being alive to what is going on there. This edition includes a new preface by the author.

Design is a key site of cultural production and change in contemporary society. Anthropologists have been involved in design projects for several decades but only recently a new field of inquiry has emerged which aims to integrate the strengths of design thinking and anthropological research.This book is written by anthropologists who actively participate in the development of design anthropology. Comprising both cutting-edge explorations and theoretical reflections, it provides a much-needed introduction to the concepts, methods, practices and challenges of the new field. Design Anthropology moves from observation and interpretation to collaboration, intervention and co-creation. Its practitioners participate in multidisciplinary design teams working towards concrete solutions for problems that are sometimes ill-defined. The authors address the critical potential of design anthropology in a wide range of design activities across the globe and query the impact of design on the discipline of anthropology.This volume will appeal to new and experienced practitioners in the field as well as to students of anthropology, innovation, science and technology studies, and a wide range of design studies focusing on user participation, innovation, and collaborative research.