"Materiality has reappeared as a highly contested topic in recent art. Modernist criticism tended to privilege form over matter--considering material as the essentialized basis of medium specificity--and technically based approaches in art history reinforced connoisseurship through the science of artistic materials. But in order to engage critically with the meaning, for example, of hair in David Hammons's installations, milk in the work of Dieter Roth, or latex in the sculptures of Eva Hesse, we need a very different set of methodological tools. This anthology focuses on the moments when materials become willful actors and agents within artistic processes, entangling their audience in a web of connections. It investigates the role of materiality in art that attempts to expand notions of time, space, process, or participation. And it looks at the ways in which materials obstruct, disrupt, or interfere with social norms, emerging as impure formations and messy, unstable substances. It reexamines the notion of "dematerialization"; addresses materialist critiques of artistic production; surveys relationships between matter and bodies, from the hierarchies of gender to the abject and phobic; explores the vitality of substances; and addresses the concepts of intermateriality and transmateriality emerging in the hybrid zones of digital experimentation." -- Publisher's description.

Throughout history and across social and cultural contexts, most systems of belief—whether religious or secular—have ascribed wisdom to those who see reality as that which transcends the merely material. Yet, as the studies collected here show, the immaterial is not easily separated from the material. Humans are defined, to an extraordinary degree, by their expressions of immaterial ideals through material forms. The essays in Materiality explore varied manifestations of materiality from ancient times to the present. In assessing the fundamental role of materiality in shaping humanity, they signal the need to decenter the social within social anthropology in order to make room for the material. Considering topics as diverse as theology, technology, finance, and art, the contributors—most of whom are anthropologists—examine the many different ways in which materiality has been understood and the consequences of these differences. Their case studies show that the latest forms of financial trading instruments can be compared with the oldest ideals of ancient Egypt, that the promise of software can be compared with an age-old desire for an unmediated relationship to divinity. Whether focusing on the theology of Islamic banking, Australian Aboriginal art, derivatives trading in Japan, or textiles that respond directly to their environment, each essay adds depth and nuance to the project that Materiality advances: a profound acknowledgment and rethinking of one of the basic properties of being human. Contributors. Matthew Engelke, Webb Keane, Susanne Küchler, Bill Maurer, Lynn Meskell, Daniel Miller, Hirokazu Miyazaki, Fred Myers, Christopher Pinney, Michael Rowlands, Nigel Thrift

It is little wonder that relationships between things and humans are front-and-center in the contemporary social sciences, given the presence of technologies in every conceivable aspect of our lives. From Bruno Latour to Ian Hodder, anthropologists and archaeologists are embracing “thing theory” and the “ontological turn.” In Practicing Materiality, Ruth M. Van Dyke cautions that as anthropologists turn toward animals and things, they run the risk of turning away from people and intentional actions. Practicing Materiality focuses on the practical job of applying materiality to anthropological investigations, but with the firm retention of anthropocentrism. The philosophical discussions that run through the nine chapters develop practical applications for material studies, including Heideggerian phenomenology, Gellian secondary agency, object life histories, and bundling. Seven case studies are flanked by an introduction and a discussion chapter. The case studies represent a wide range of archaeological and anthropological contexts, from contemporary New York City and Turkey to fifteenth-century Portugal, the ancient southwest United States, and the ancient Andes. Authors in every chapter argue for the rejection of subject/object dualism, regarding material things as actively involved in the negotiation of power within human social relationships. Practicing Materiality demonstrates that it is possible to focus on the entangled lives of things without losing sight of their political and social implications.

This book offers an integrated perspective of materiality from the different angles of accounting, auditing, internal controls, management commentary, financial analysis, management control, forensic analysis, sustainability reporting, corporate responsibility, assurance standards, integrated reporting, and limited legal considerations.

What is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.

In Death, Materiality and Mediation, Barbara Graham analyzes a diverse range of objects associated with remembrance in both the public and private arenas through ethnography of communities on both sides of the Irish border. In doing so, she explores the materially mediated interactions between the living and the dead, revealing the physical, cognitive, emotional, and spiritual roles of the dead in contemporary communities. Through this study, Graham expands the concept of materiality to include narrative, song, senses, emotions, ephemera and embodied experience. She also examines how modern practices are informed by older beliefs and folk religion.

Representing a cutting-edge study of the junction between theoretical anthropology, material culture studies, religious studies and museum anthropology, this study examines the interaction between the human and the nonhuman in a museum setting usually defined as ‘non-Western’, ‘non-scientific’ and ‘religious.’ Combining an on-site analysis of exhibitive spaces with archival research and interviews with museum curators, the chapters highlight contradictions of museum practices, and suggests that museum practitioners use museum spaces and artefacts as a way of formulating new theoretical stances in material culture studies, thus viewing museums as producers of theories together with affective engagements.

A comprehensive reference of materials for interior designers and architects Choosing the right material for the right purpose is a critical—and often overlooked—aspect in the larger context of designing buildings and interior spaces. When specified and executed properly, materials support and enhance a project's overall theme, and infuse interior space with a solid foundation that balances visual poetry and functionality. Materiality and Interior Construction imparts essential knowledge on how materials contribute to the construction and fabrication of floors, partitions, ceilings, and millwork, with thorough coverage of the important characteristics and properties of building materials and finishes. Individual coverage of the key characteristics of each material explores the advantages and disadvantages of using specific materials and construction assemblies, while helping readers discover how to make every building element count. In addition, Materiality and Interior Construction: Is highly illustrated throughout to show material properties and building assemblies Supplies rankings and information on the "green" attributes of each material so that designers can make informed decisions for specifications Is organized by application for easy and quick access to information Includes a companion website, featuring an extensive online image bank of materials and assemblies Rather than a typical catalog of materials, Materiality and Interior Construction is efficiently organized so that the reader is guided directly to the options for the location or assembly they are considering. Reliable and easy to use, Materiality and Interior Construction is a one-stop, comprehensive reference for hundreds of commonly used materials and their integration as building components—and an invaluable resource that every interior designer or architect should add to their set of tools.

Materiality has emerged as a new focus for art, design, and architecture. Where there was once the belief that the form of a work offered more capacity to bestow meaning, "New Materialism" asserts the agency of material within the artistic process, enmeshed as it is within a web of relationships. For Power of Material--Politics of Materiality, editors Susanne Witzgall and Kerstin Stakemeier have brought together a diverse and interdisciplinary team of contributors to deepen the current discourse surrounding materiality. The contributors were participants at a lecture series held at the cx centre for interdisciplinary studies at the Academy of Fine Arts, Munich, and, the book presents the resultant discussions and experimental practices.

Ask a person on the street whether new technologies bring about important social change and you are likely to hear a resounding "yes." But the answer is less definitive amongst academics who study technology and social practice. Scholarly writing has been heavily influenced by the ideology of technological determinism - the belief that some types or technologically driven social changes are inevitable and cannot be stopped. Rather than argue for or against notions of determinism, the authors in this book ask how the materiality (the arrangement of physical, digital, or rhetorical materials into particular forms that endure across differences in place and time) of technologies, ranging from computer-simulation tools and social media, to ranking devices and rumours, is actually implicated in the process of formal and informal organizing. The book builds a new theoretical framework to consider the important socio-technical changes confronting people's everyday experiences in and outside of work. Leading scholars in the field contribute original chapters examining the complex interactions between technology and the social, between artefact and humans. The discussion spans multiple disciplines, including management, information systems, informatics, communication, sociology, and the history of technology, and opens up a new area of research regarding the relationship between materiality and organizing.