West looks at the process from which coffee is grown, gathered, sorted, shipped, and served from the highlands of Papua New Guinea to coffee shops in far away places. She shows how coffee becomes a commodity, the different forms of labor involved, and the way that coffee shapes the lives and understandings of those who grow, process, export, sell and consume coffee.

When journalists, developers, surf tourists, and conservation NGOs cast Papua New Guineans as living in a prior nature and prior culture, they devalue their knowledge and practice, facilitating their dispossession. Paige West's searing study reveals how a range of actors produce and reinforce inequalities in today's globalized world. She shows how racist rhetorics of representation underlie all uneven patterns of development and seeks a more robust understanding of the ideological work that capital requires for constant regeneration.

Images of Jamaica and the Bahamas as tropical paradises full of palm trees, white sandy beaches, and inviting warm water seem timeless. Surprisingly, the origins of those images can be traced back to the roots of the islands’ tourism industry in the 1880s. As Krista A. Thompson explains, in the late nineteenth century, tourism promoters, backed by British colonial administrators, began to market Jamaica and the Bahamas as picturesque “tropical” paradises. They hired photographers and artists to create carefully crafted representations, which then circulated internationally via postcards and illustrated guides and lectures. Illustrated with more than one hundred images, including many in color, An Eye for the Tropics is a nuanced evaluation of the aesthetics of the “tropicalizing images” and their effects on Jamaica and the Bahamas. Thompson describes how representations created to project an image to the outside world altered everyday life on the islands. Hoteliers imported tropical plants to make the islands look more like the images. Many prominent tourist-oriented spaces, including hotels and famous beaches, became off-limits to the islands’ black populations, who were encouraged to act like the disciplined, loyal colonial subjects depicted in the pictures. Analyzing the work of specific photographers and artists who created tropical representations of Jamaica and the Bahamas between the 1880s and the 1930s, Thompson shows how their images differ from the English picturesque landscape tradition. Turning to the present, she examines how tropicalizing images are deconstructed in works by contemporary artists—including Christopher Cozier, David Bailey, and Irénée Shaw—at the same time that they remain a staple of postcolonial governments’ vigorous efforts to attract tourists.

A significant contribution to political ecology, Conservation Is Our Government Now is an ethnographic examination of the history and social effects of conservation and development efforts in Papua New Guinea. Drawing on extensive fieldwork conducted over a period of seven years, Paige West focuses on the Crater Mountain Wildlife Management Area, the site of a biodiversity conservation project implemented between 1994 and 1999. She describes the interactions between those who ran the program—mostly ngo workers—and the Gimi people who live in the forests surrounding Crater Mountain. West shows that throughout the project there was a profound disconnect between the goals of the two groups. The ngo workers thought that they would encourage conservation and cultivate development by teaching Gimi to value biodiversity as an economic resource. The villagers expected that in exchange for the land, labor, food, and friendship they offered the conservation workers, they would receive benefits, such as medicine and technology. In the end, the divergent nature of each group’s expectations led to disappointment for both. West reveals how every aspect of the Crater Mountain Wildlife Management Area—including ideas of space, place, environment, and society—was socially produced, created by changing configurations of ideas, actions, and material relations not only in Papua New Guinea but also in other locations around the world. Complicating many of the assumptions about nature, culture, and development underlying contemporary conservation efforts, Conservation Is Our Government Now demonstrates the unique capacity of ethnography to illuminate the relationship between the global and the local, between transnational processes and individual lives.

South African rooibos tea is a commodity of contrasts. Renowned for its healing properties, the rooibos plant grows in a region defined by the violence of poverty, dispossession, and racism. And while rooibos is hailed as an ecologically indigenous commodity, it is farmed by people who struggle to express “authentic” belonging to the land: Afrikaners, who espouse a “white” African indigeneity, and “coloureds,” who are characterized either as the mixed-race progeny of “extinct” Bushmen or as possessing a false identity, indigenous to nowhere. In Steeped in Heritage Sarah Ives explores how these groups advance alternate claims of indigeneity based on the cultural ownership of an indigenous plant. This heritage-based struggle over rooibos shows how communities negotiate landscapes marked by racial dispossession within an ecosystem imperiled by climate change and precarious social relations in the postapartheid era.

This book is in the field of trans-cultural psychology, and is intended for college courses in anthropology and psychology, and general readership. the book focuses on intriguing facts about primitive cultures around the world, and provides insights into living traditions and different world views. a principal theme of the book is that we can gain a better understanding of ourselves by a "detour" to other cultures. the book shows how modern ways of thinking are parallel to those of primitive cultures, and engages readers to become more aware of who they are. As shown throughout the book, there is not, after all, a very wide gulf between primitive and modern cultures. the book covers many topics including animism, shamanism, totemism, hunting and cultivation rituals, altered states of consciousness, envy and the evil eye, how people deal with conflicts, potlatches, cargo cults, how people satisfy the need for social approval, culture-bound syndromes, folk medicine, treatment of women, raising of children, nomadic peoples, treatment of the dead, and other topics.

Biography.

The Das Kapital of the 20th century,Society of the Spectacle is an essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's, in particular the May 1968 uprisings in France, up to the present day, with global capitalism seemingly staggering around in it’s Zombie end-phase, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This ‘Red and Black’ translation from 1977 is Introduced by Notting Hill armchair insurrectionary Tom Vague with a galloping time line and pop-situ verve, and given a more analytical over view by young upstart thinker Sam Cooper.

With the rise of science, we moderns believe, the world changed irrevocably, separating us forever from our primitive, premodern ancestors. But if we were to let go of this fond conviction, Bruno Latour asks, what would the world look like? His book, an anthropology of science, shows us how much of modernity is actually a matter of faith. What does it mean to be modern? What difference does the scientific method make? The difference, Latour explains, is in our careful distinctions between nature and society, between human and thing, distinctions that our benighted ancestors, in their world of alchemy, astrology, and phrenology, never made. But alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology, and nature. The ozone debate is such a hybrid, in Latour’s analysis, as are global warming, deforestation, even the idea of black holes. As these hybrids proliferate, the prospect of keeping nature and culture in their separate mental chambers becomes overwhelming—and rather than try, Latour suggests, we should rethink our distinctions, rethink the definition and constitution of modernity itself. His book offers a new explanation of science that finally recognizes the connections between nature and culture—and so, between our culture and others, past and present. Nothing short of a reworking of our mental landscape, We Have Never Been Modern blurs the boundaries among science, the humanities, and the social sciences to enhance understanding on all sides. A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and replacing the rest with a broader, fairer, and finer sense of possibility.

Intolerance and bigotry lie at the heart of all human suffering. So claims Bertrand Russell at the outset of "In Praise of Idleness," a collection of essays in which he espouses the virtues of cool reflection and free enquiry; a voice of calm in a world of maddening unreason. With characteristic clarity and humour, Russell surveys the social and political consequences of his beliefs. From a devastating critique of the ancestry of fascism to a vehement defense of 'useless' knowledge, with consideration given to everything from insect pests to the human soul, " In Praise of Idleness " is a tour de force that only Bertrand Russell could perform.