Today, forms and figures of complicity seem to occupy a good part of our political and moral imaginary, from accusations of complicity with structural violence in its varied forms to suspicions of collusion with minorities judged by some to pose a threat to society. Accusations or suspicions of complicity touch even those distant from incriminating acts. Thus, the figure of the accomplice lurks and works behind the scenes. Are we all, in fact, somebody’s or something’s accomplice by dint of either our inaction or our action at a distance?
Catégorie : In English
Pauline Gourlet (design researcher, co-founder of l’Atelier des chercheurs, Research Fellow at Sciences Po-Médialab) Just like anthropologists are sometimes called on as experts by governments or international organizations to brief decision-makers or conduct fieldwork on specific matters, designers get courted...
Pack camels in photos. A transforming practice in Somaliland retraced in postcards and Instagram posts
Based on postcards and Instagram posts, Raphael Schwere and Ahmed M. Musa analyse the role of camels in the colonial and contemporary imaginary of Somaliland. The paper deals with pastoralism and colonial conquest as well as with cultural heritage and processus of identity construction.
With a focus on the loving attachments to objects perceived as emotionally dangerous, this special issue of Terrain seeks to shed light on current controversies and public debates surrounding electronic emotions. The aim is to decipher the different scenarios allowing for love to blossom between humans and non-humans – robots, electronic gadgets, dolls, fictional characters, sculptures, shadows, human remains, plants or animals.
Et si la libération s’obtenait en regardant des scènes religieuses et en menant une vie faite de divertissement ? Par l’analyse détaillée d’un pichvai (peinture) du Rajasthan, l’historienne de l’art Saumya Agarwal revient sur des moments marquants de la vie du...
During the exhumation of mass graves in Guatemala, forensic scientists and community members work together to identify the dead. Although their methods may appear irreconcilable, Alexa Hagerty shows in this beautiful text how the dead have a way of reminding themselves to the living that blurs the boundaries between science and dreams, between the biomedical conception of the body and the liveliness of bones – and haunts the anthropologist herself.
Paletó, le père adoptif de l’anthropologue Aparecida Vilaça, est mort en 2017. En lui rendant hommage, elle évoque les trente années passées auprès des Wari’, peuple indigène du Rondônia, dans un entretien avec Anne-Christine Taylor.