Timothy Ingold

This is an essay about the connections between the passage of time and the condition of archaeological knowledge. It revisits Tim Ingold’s 1993 paper ‘The Temporality of the Landscape’, considering its relationship with the phenomenological and interpretive archaeologies of the 1990s and what we learn from it today. Engaged not so much in an ‘ontological turn’ as in a kind of archival return, the essay compares Ingold’s discussion of Bruegel’s painting The Harvesters (1565) with an archaeological photograph from 1993. A discussion of the after-effects of performance follows, and four theses about temporality, landscape, modernity and revisiting are put forward: 1) The passage of time transforms archaeological knowledge; 2) Archaeological knowledge transforms the passage of time; 3) An archaeological landscape is an object that is known through remapping; 4) Archaeological knowledge is what we leave behind. The essay concludes that archaeology is best understood not as the study of the temporality of the landscape, as Ingold had argued, but as the study of the temporality of the landscape revisited.

Barbara Baert Looking into the Rain Humankind has a special relationship with rain. The sensory experience of water falling from the heavens evokes feelings ranging from fear to gratitude and has inspired many works of art. Using unique and expertly developed art-historical case studies-from prehistoric cave paintings up to photography and cinema-this book casts new light on a theme that is both ecological and iconological, both natural and cultural-historical. Barbara Baert's distinctive prose makes Looking Into the Rain. Magic-Moisture-Medium a profound reading experience, particularly at a moment when disruptions of the harmony among humans, animals, and nature affect all of us and the entire planet.

What could the practice of everyday cooking contribute to anthropological theory? I consider this question in developing my own approach to cooking, drawing from a modified version of Marshall Sahlins' theory of historical practice. Thinking through key concepts from Sahlins, including 'the structure of the conjuncture' and 'the risk of categories in practice,' I suggest some of the ways this might be applied to the practice of cooking, and I argue that, indeed, such an approach-one that recognizes the role of recipes as well as of improvisation-fills a gap left in understandings of cooking based on strictly phenomenological approaches such as that of Tim Ingold. I argue that a modified Sahlinsian approach can help us understand the daily reproduction and change that happens each time a recognizable dish is cooked. I then suggest some of the ways that my own research on Greek cooking lends itself to thinking about risky practices. Finally, I suggest that doing ethnography informed by this approach will not only illuminate our kitchen lives but will provide a valuable model for ethnographic studies of the historical processes involved in changes in daily life more broadly.

Introducción La voz de Tim Ingold repercute desde hace más de tres décadas en el pensamiento occidental como una crítica iconoclasta a los presupuestos clásicos de las ciencias modernas y su método de investigación basado en el distanciamiento del investigador con respecto a su objeto y al mundo vivido. Su trayectoria intelectual, expresada en sus escritos ensayísticos, deja ver en el trasfondo a un pensador inquieto, atento a la gran aventura de formar parte de un tejido existencial que constituye a los seres humanos y a los no humanos. La " cosmología " de In-gold nos revela el mundo como líneas que se entretejen en el horizonte de una atmósfera (weather-world) que acompasa a la esfera terrestre y al firmamento. Su interés es comprender la experiencia común a todos los seres vivos de ser traspasados por materiales que los constituyen como organismos que, a su vez, no se cierran en envolturas corporales o identidades específicas. Para Ingold, la experiencia de la vida no es vivida en el interior de un cuerpo que se relaciona con otros cuerpos como un objeto entre otros, sino que se realiza en el flujo de los Semiótica ambiental.

Esta conferencia  presenta las teorías neo-ecologistas de Tim Ingold para introducir el enfoque de la "antropología del material" en el arte. En "Being Alive: Essays on Movement, Knowledge, and Description" (2011) el antropólogo reúne un conjunto de ensayos bajo el concepto unificador del movimiento. Dentro de una nueva morfología del cambio,  Ingold propone una estimulante forma de abordar la materia con un énfasis en el diálogo creador-material.  Así, cohesionando antropología, arte, arquitectura, ecología y arqueología reflexiona sobre la creatividad en el sentido más amplio del término.