Material culture refers to the study of physical objects, artifacts, and structures created by

humans that reveal insights into their values, beliefs, practices, and ways of life. These
objects—whether everyday tools, art, or symbols—serve as tangible evidence of human
history, innovation, and culture. The relationship between people and objects is complex; we
not only shape the world around us by creating and using objects, but these objects also shape
our behaviors, interactions, and understandings of ourselves and others.

In the context of this course, the exploration of material culture will focus on the intersection
of objects, identity, meaning, and the stories they tell. We will examine how objects carry
meaning beyond their functional use, exploring how they become repositories of memory,
emotion, and social context.

"Things" by Lisel Mueller (Poem)

Lisel Mueller's poem "Things" provides a reflective meditation on the role objects play in our
lives. The poem speaks to the deep connection between people and things, and how objects—
whether they are everyday items or precious belongings—become extensions of our
experiences and memories.

In "Things", Mueller reflects on how objects are tied to the emotional and psychological
landscapes of individuals, often holding more significance than their physical presence or
utility. The objects in the poem are described as witnesses to our lives, and through their
continued existence, they hold the potential to outlast us, serving as traces of who we were
and what we valued. The poem invites us to consider how we interact with and invest
meaning into the material world around us, from the mundane to the extraordinary.

Excerpt from "Things" by Lisel Mueller:

"Things are the only thing we can save from the fire,
they make us who we are. They carry our names
in their own language, they tell us who we are,
we are the people we were when we were children."

Mueller underscores how objects serve as vessels of memory, representing not only personal
history but collective human experience. Objects are anchors that preserve identity, and yet
they also possess a kind of autonomy—they stand, wear, and live longer than the human
beings who created or used them. In this way, objects become bearers of legacy.

Tops by Eames (Film)

Tops (1969) is an experimental film by Charles and Ray Eames, celebrated designers known
for their contributions to mid-20th-century American design. The film is a short, abstract
exploration of the motion and interaction of spinning tops—an object that is simple in form
but rich with symbolic potential. The film uses the tops' rotations to explore the principles of
motion, balance, and symmetry, but it also invites viewers to consider how a seemingly
simple object can have a complex relationship with time and space.

The film’s minimalist approach is a meditation on form and function. By focusing on the
tops’ dynamic movement, the Eameses highlight how material objects—through their motion
—can express beauty, order, and chaos. The tops’ spin, though repetitive and seemingly
trivial, holds meaning in how it engages the viewer’s sense of rhythm and visual perception.
The film also subtly explores the relationship between the object's physical properties (shape,
weight, and spin) and its interaction with the environment (surface, speed, and tilt), creating a
sensory experience that engages both intellect and emotion.

Through Tops, the Eameses create a cinematic piece that transcends the object itself, asking
the audience to consider how design and function can create aesthetic experiences. The object
is no longer just an object; it becomes a performer, a collaborator in the visual composition of
the film. The tops in the film exemplify how material objects, through their design and
manipulation, are more than static things—they are experiences, stories, and expressions of
both human ingenuity and natural principles.

Themes in Tops by Eames:

1. Motion and Balance: The tops are symbols of balance, stability, and the delicate
forces that maintain equilibrium. Their rotation exemplifies both physical and
metaphorical balance in design and life.
2. Simplicity and Complexity: The film demonstrates how something as simple as a
spinning top can evoke complex ideas about motion, time, and perception.
3. Aesthetic and Functionality: Through the design of the tops and the manner in
which they are showcased, the Eameses blur the line between an object’s practical
function and its artistic or aesthetic value.
4. Interactivity of Objects: The tops' movements are dependent on interaction with
their environment. In the same way, human interaction with objects can imbue them
with meaning, shifting their role from mere tools to cultural markers.

Application to Material Culture Studies

In studying material culture, both Things and Tops illustrate the powerful role objects play in
our lives. Mueller’s poem evokes the emotional, historical, and personal dimensions of
objects, emphasizing their symbolic and mnemonic power. Meanwhile, the Eames’ film
reminds us of the aesthetic and dynamic qualities of material culture—how objects can
embody both function and beauty, and how their relationships to time, space, and motion
offer deeper insights into design principles and human experience.

By analyzing these works, we begin to see how objects are not just passive items in our lives
but active participants in shaping our perceptions, memories, and cultural narratives. Material
culture is about understanding the stories objects tell—whether through their design, their
function, or the meanings we attach to them over time.

Discussion Questions:

1. How do the objects in Lisel Mueller's "Things" serve as symbols of memory and
identity? Can you think of objects in your life that hold a similar significance?
2. What does Tops by the Eameses teach us about the relationship between form,
function, and aesthetic experience? How does the spinning top in the film challenge
our understanding of the object?
3. How can the study of material culture help us understand the intersection between
individual experience and collective memory?
 4. In what ways do both the poem and the film explore the idea that objects can hold
more significance than their materiality or practical use?

This unit invites us to deepen our understanding of how objects shape our lives—both in their
utility and in the meanings we create around them.

Understanding Objects in Material Culture

In his article Material Culture and the Meaning of Objects, Scarpaci (2016) provides a
foundational framework for understanding how objects play a crucial role in shaping human
experiences, identities, and social relationships. According to Scarpaci, objects are not just
physical things that serve practical functions, but are laden with meaning, representing
complex cultural, historical, and emotional narratives. Through this lens, objects are seen as
active participants in the construction of culture and identity, rather than passive items that
merely exist to fulfill utilitarian needs.

What Are Objects?

Objects, in the context of material culture, are defined as tangible items—whether simple or
complex—that people create, use, and engage with in their daily lives. These can include
tools, clothing, buildings, artwork, machines, or even everyday household items. However,
Scarpaci suggests that objects should not be understood merely as functional items but as
carriers of meaning that reflect cultural practices, values, and social interactions.

Key Ideas from Scarpaci’s Article

1. Objects as Social and Cultural Constructs:

o Scarpaci emphasizes that objects are not neutral; they are infused with social
and cultural significance. What makes an object meaningful is not only its
physical properties (such as size, material, or function) but also the contexts in
which it is used, the meanings attributed to it, and the relationships it creates
between individuals, groups, and societies.
o For example, a wedding ring is not just a piece of jewelry; it represents
commitment, love, and the institution of marriage. In different cultures, the
ring may carry additional meanings depending on traditions and customs.
Therefore, objects are symbols that operate within larger cultural narratives
and systems.
2. Objects as Artifacts of Identity:
o Objects act as markers of identity—both individual and collective. They
communicate personal status, group affiliation, and social position. Scarpaci
draws attention to how material possessions, from clothing to technology, can
reflect or construct identity.
o A person’s choice of clothing, for instance, may indicate cultural identity (e.g.,
ethnic or national affiliations), economic status, or even personal beliefs (e.g.,
political affiliations, religious practices). Similarly, objects like family
heirlooms or souvenirs can reflect familial or national identities, preserving
the narratives of personal and collective histories.
 3. Objects and Memory:
o Objects are powerful tools for remembering. As Scarpaci notes, objects can be
repositories of personal and collective memory. Whether through photographs,
furniture, or keepsakes, these items often evoke nostalgia, preserve histories,
and carry the emotional weight of past experiences.
o In material culture studies, objects are seen as bridges between the past and the
present. They allow individuals and communities to connect with their history
and heritage. For instance, an old letter or a childhood toy can bring memories
rushing back, anchoring individuals to a specific time, place, or event.
4. The Relationship Between People and Objects:
o Scarpaci highlights that the relationship between people and objects is
dynamic. It is not just that people use objects, but that objects "use" people in
shaping their behaviors, thoughts, and even emotions.
o For example, a well-worn book may become a cherished possession not only
for its content but also because of its physical condition and the personal
experiences tied to it. The object may influence how we engage with it (e.g.,
reading, annotating, or simply admiring it) and, in turn, become a significant
part of our daily routines or memories.
5. Objects as a Lens for Understanding Society:
o Objects also function as a lens through which broader social structures and
cultural systems can be understood. Scarpaci suggests that analyzing the
material culture of a society can reveal insights about its values, power
dynamics, and social hierarchies.
o For instance, the design and use of objects like architecture or transportation
systems can shed light on issues of accessibility, class, and mobility within a
society. A society’s material culture reflects the priorities and resources of that
culture. In this way, objects are both products and reflections of the social
contexts in which they are made and used.
6. The Changing Meaning of Objects:
o Scarpaci also notes that the meanings of objects are not fixed but evolve over
time. An object that once served a functional or symbolic purpose can take on
new meanings as society changes.
o For example, a vintage record player may once have been a necessary
household item but is now seen as a nostalgic or "retro" item. Similarly, items
that were once rare and expensive may become commonplace and mass-
produced, changing their symbolic value and cultural significance.

Key Themes and Takeaways

1. Objects Are Meaningful: Objects in material culture studies are seen as more than
just tools or commodities. They are imbued with cultural and personal significance,
carrying meanings and narratives that extend beyond their material form.
2. Objects Connect Us to Identity and History: Objects are integral to the construction
of both personal and collective identities. They act as markers of social status, cultural
heritage, and historical continuity, preserving memories and experiences over time.
3. Objects Shape and Are Shaped by Society: Material objects do not exist in a
vacuum; they both reflect and influence the cultural, social, and political contexts in
which they are produced and used. They reveal power dynamics, social practices, and
cultural values.
 4. Objects Are Dynamic: The meanings of objects are fluid, shifting over time as they
pass from one context to another. They are not static symbols but are continually
reinterpreted and recontextualized by different individuals and groups.

Applying Scarpaci’s Insights to Material Culture Studies

Scarpaci’s framework encourages us to look at objects as cultural artifacts that speak to the
complexities of human life. Rather than just focusing on the object itself—its form, function,
or material—material culture studies urge us to consider the social, emotional, and historical
narratives that objects carry.

Discussion Questions:

1. In what ways do objects in your own life carry more than just practical significance?
How do they contribute to your sense of identity and belonging?
2. How do objects change in meaning as they pass through different generations or
cultures? Can you think of an example where an object’s value or purpose shifted
over time?
3. What can the study of material culture tell us about power structures within society?
For example, how can everyday objects reflect class, race, or gender dynamics?
4. In what ways do objects help preserve or challenge memories? Can you think of an
object that has significant meaning in your family or community?

By studying objects as Scarpaci outlines, we gain a deeper appreciation of how material

culture influences and shapes not only individual lives but entire societies. Objects, in their
many forms and functions, are mirrors reflecting human experience, history, and identity.

Examples: In his article Material Culture and the Meaning of Objects, J. Scarpaci explores
how objects are much more than just physical items. Objects, according to Scarpaci, are
loaded with meaning, shaped by culture, history, and individual experiences. They become
embedded with symbolic value over time and through different cultural lenses, contributing
to identity and belonging. Below, I’ll break down the main points from Scarpaci’s work and
offer examples to illustrate how objects serve these functions.

What Are Objects?

Objects are physical things that are used or created by humans. They could range from
everyday items like a pen or a chair, to culturally significant items like a family heirloom,
a religious artifact, or a national flag. In Scarpaci’s view, objects are not inert; they acquire
meaning through their use, their connection to people, and the social, historical, and cultural
contexts in which they exist.

 Example: A book could simply be a collection of pages bound together, but when it’s
a first edition of a novelby a beloved author, it can become an object of intense
personal or cultural significance.
How Objects Contribute to Your Sense of Identity and Belonging

Objects play a critical role in shaping personal and collective identities. By interacting with
objects, people create connections to themselves, their family histories, their communities,
and even to larger cultural or national narratives.

1. Personal Identity

Certain objects can act as markers of personal identity, linking individuals to past
experiences, memories, or ideals. These objects become extensions of the self or symbols of
personal values, tastes, and lifestyle choices.

 Example: Think about someone’s favorite hoodie. It's just a piece of clothing, but it
can represent comfort, a personal aesthetic, or even memories of specific times in
someone’s life (e.g., the hoodie bought on a memorable trip or the one worn during a
formative experience). Over time, it becomes a tangible piece of identity.

2. Social Identity and Belonging

Objects help people connect to social groups, from their family to broader cultural
communities. For example, in many cultures, wearing traditional clothing or using specific
cultural symbols (like a totem, a cultural mask, or religious icons) can communicate one's
belonging to a specific community or heritage.

 Example: A Jewish prayer shawl (tallit) can be deeply tied to religious identity. For
Jews, wearing the tallit during prayer signifies belonging to the Jewish faith and
community. The object itself serves as a reminder of one’s religious responsibilities
and connection to Jewish history and tradition.
 Example: Sports jerseys (e.g., wearing a New York Yankees cap in the U.S.)
signify membership in fan communities. The object (the jersey) aligns the individual
with a larger social group, signaling identity and allegiance to a sports team.

3. Collective Identity

Certain objects take on collective meaning and become emblematic of a larger community,
historical event, or political movement. These objects represent shared experiences and
provide a sense of belonging within a larger group or society.

 Example: The American flag is more than just a piece of fabric; it represents
national identity, shared values, and the collective history of the United States. People
often express a sense of belonging to the nation through this symbol, using it during
holidays, protests, and ceremonies.

How Objects Change in Meaning as They Pass Through Different Generations

or Cultures

Objects are dynamic. As they move through time and space, their meanings can shift
drastically depending on the generation, culture, or context in which they are viewed or used.
Scarpaci’s work emphasizes the malleability of object meanings, shaped by the passage of
time, cultural transformation, and individual interpretations.

1. Objects Across Generations

The meanings of objects can evolve as they pass from one generation to the next. Items that
once held very personal or functional significance may come to symbolize heritage, nostalgia,
or tradition when passed down.

 Example: A family heirloom, such as an old pocket watch, might have originally
been a functional item. However, when passed down from grandparents to
grandchildren, its meaning can change. It becomes a token of family history, love, or
connection to previous generations. The watch may no longer serve its original
function, but it now holds sentimental value and acts as a link to the past.
 Example: Photographs—what was once just a photo of a family event can transform
over generations into an important historical document. Each new generation that
looks at the photo sees it through a different lens, with new layers of meaning
attached based on what has happened since the photograph was taken.

2. Objects Across Cultures

Objects that are meaningful in one culture may acquire entirely different meanings in another
culture. This transformation can be based on the new context in which the object is used,
interpreted, or valued.

 Example: The cross in Christianity is a symbol of faith, sacrifice, and salvation.

However, in other contexts (such as pre-Christian Europe or certain Indigenous
cultures), the cross was often a symbol of something entirely different, such as an
astronomical or cosmological concept. The meaning of the object changes depending
on the cultural context.
 Example: Tea is a ubiquitous object across cultures, but its meaning changes
depending on the country. In England, afternoon tea is a social ritual, reflecting class
and refinement. In China, tea is deeply tied to history, philosophy, and even
medicine, where the act of drinking tea is often meditative and spiritual. The object
(the tea itself) and the practices around it shift based on cultural norms.

3. Changing Meanings Over Time

Even within a single culture, objects can take on different meanings as time passes,
influenced by shifts in political, social, or economic contexts.

 Example: Military medals—at one time, they may represent honor and service,
while in later times, they might become symbols of protest or anti-war sentiment,
depending on the political climate. The object itself (the medal) stays the same, but its
meaning is radically transformed based on contemporary perspectives.
 Example: Old technology like flip phones or walkmans used to be symbols of
modernity or technological advancement. Today, these objects are nostalgic and retro,
often viewed with a sense of irony, highlighting how their meanings evolve over time.
What was once cutting-edge becomes a relic of the past, evoking memories of an
earlier era.
Conclusion

Scarpaci’s article provides a nuanced understanding of how objects are more than mere
material things. They are carriers of cultural, social, and personal meaning. Objects connect
individuals to their past, to larger communities, and even to their own sense of self. As they
pass through time, their meanings can shift dramatically, depending on who uses them, how
they are used, and the changing contexts in which they exist. By understanding the social and
cultural significance of objects, we can better appreciate how they shape and reflect the
values, beliefs, and histories of the societies that produce and consume them.

Historical Design and the Question of History

In Design and the Question of History (2015), authors Tony, F., Dilnot, C., and Stewart, S.
explore the intricate relationship between design and history. The book addresses how design
has evolved and how it both shapes and is shaped by the historical contexts in which it is
situated. The authors encourage a deep reflection on how historical narratives of design are
constructed and how they influence our understanding of the objects, styles, and technologies
that surround us.

Here are a few key insights from the book that are important for understanding historical
design, which can be incorporated into a course manual:

1. The Role of History in Design Thinking

 Design and Its Historical Context: One of the key points emphasized in the book is
that design cannot be understood in isolation from the historical context in which it
emerges. Design is not just a product of aesthetic choices or individual creativity, but
is influenced by social, political, technological, and economic forces. Design history,
therefore, is not just about the evolution of objects but about the interplay between
design practices and historical conditions.
 Reflecting Society Through Design: The authors argue that design, in its various
forms, acts as a mirror to society at any given moment. For example, the design of
industrial products during the Industrial Revolution reflected the rise of mass
production and shifts in labor, while modernist design reflected ideals of efficiency,
simplicity, and progress.
2. Design as a Historical Construct

 Design Histories Are Constructed, Not Given: The book emphasizes that our
understanding of design history is not objective or universal. Instead, it is a narrative
that has been shaped over time by cultural and academic trends, and by the dominant
forces of particular periods. Historical design is often presented through a linear,
progress-oriented narrative, but this framework can obscure alternative or
marginalized design practices that don't fit the traditional story.
 Rewriting Design History: The authors encourage readers to question established
histories and narratives, asking whose stories are being told, which voices are omitted,
and how different design practices or movements might be viewed from alternative
perspectives (e.g., feminist, postcolonial, or ecological perspectives).

3. Design as a Discipline Shaped by History

 The Evolution of Design as a Profession: The development of design as a

professional discipline is another key theme. In the late 19th and early 20th centuries,
design began to be recognized as a distinct field of practice, with the establishment of
design schools, the rise of industrial design, and the growing importance of consumer
culture. Understanding this history helps situate contemporary design practices and
trends within a broader historical trajectory.
 Design and Modernity: The authors also discuss how the rise of modernity,
especially in the early 20th century, significantly shaped the field of design.
Movements such as the Bauhaus, Arts and Crafts, and later Mid-century Modernism
influenced not only aesthetics but also design thinking, including ideas around form,
function, and the role of design in shaping society.

4. The Interdisciplinary Nature of Design History

 Design's Cross-Disciplinary Connections: Tony, Dilnot, and Stewart highlight that

design history is inherently interdisciplinary, drawing from fields like art history,
sociology, economics, and technology. Understanding design history requires an
awareness of these multiple perspectives, as the development of design practices often
intersects with changes in other areas, such as technological innovation, shifts in
consumer behavior, and the evolution of labor.
 Technology and Design: The relationship between technology and design is a central
theme in the book. Technological advancements—whether in materials,
manufacturing processes, or communication systems—have had a profound impact on
design history. For example, the development of the assembly line revolutionized
industrial design, while digital technology has reshaped design in the contemporary
era, leading to new questions about how design interacts with digital media and the
internet.

5. Design as a Reflection of Cultural Ideals

 Design and Ideology: The book also explores how design is often a vehicle for
promoting cultural, political, and economic ideologies. For instance, during the Cold
War, design was used as a tool of ideological expression, whether through the
aesthetics of consumer goods in capitalist societies or the functionalist approach to
 design in socialist countries. The authors argue that design can be a reflection of
cultural values and that understanding the history of design can provide insights into
the ideologies that shaped different periods.
 Design and Identity: The authors stress that design is also closely tied to identity
formation—whether individual, national, or cultural. Design is a tool through which
societies express and construct their identities, whether through the creation of
national symbols, consumer goods that represent a particular way of life, or objects
that symbolize social status and belonging.

6. Challenging Linear Progression in Design History

 Non-Linear Design History: One of the more provocative ideas in the book is the
challenge to the traditional, linear narrative of design history that assumes a constant
trajectory of improvement and progress. The authors suggest that design history
should not be understood as a simple narrative of innovation or improvement but
rather as a more complex and multifaceted story that includes setbacks, regressions,
and cycles.
 Alternative Histories of Design: By questioning the dominant narrative of design
history, the authors encourage students and practitioners to think about alternative
histories. These might include the stories of non-Western design traditions, or the
influence of marginalized groups in shaping design practices. This broader
understanding of history helps democratize the field of design and provides a richer
and more inclusive narrative.

Key Takeaways for the Course Manual

 Design is Shaped by History: Design is not just about creating beautiful or

functional objects; it reflects broader historical, social, and political contexts. The
history of design reveals how design practices have been influenced by and have
responded to changes in society.
 The Narrative of Design History Is Not Fixed: Design history is constructed, and it
is important to critically examine how histories are written. The stories we tell about
design are influenced by cultural, political, and academic forces. Therefore,
alternative histories should be considered to get a fuller picture of design's evolution.
 Interdisciplinary Connections: Design history is connected to a variety of fields,
including art history, sociology, technology, and economics. This interdisciplinary
approach is crucial to understanding the full impact of design on society.
 Technology and Innovation Influence Design: Technological developments drive
design innovation, but the relationship is reciprocal—design also influences the way
new technologies are understood and adopted.
 Design and Cultural Ideals: Design does not merely reflect aesthetics; it is also a
powerful tool for communicating and reinforcing cultural, political, and ideological
messages.

Discussion Questions:

1. How can the history of design help us understand the broader cultural, political, and
social context of a particular period or movement?
 2. What is the significance of challenging the linear progression of design history? How
might an alternative, non-linear view of design history impact our understanding of
design today?
3. How does the relationship between technology and design shape the products and
services we use today? Can you think of examples where technological innovation has
dramatically changed design practices?

By addressing these concepts, Design and the Question of History offers a framework for
understanding design not as a static, isolated discipline but as a dynamic field deeply
intertwined with the history of society itself.

History of Interior Design: Insights from Baxter's Thirty Years of Growth in the
Literature of Interior Design (1991)

In "Thirty Years of Growth in the Literature of Interior Design" (1991), Peter Baxter reflects
on the significant developments in the field of interior design over a span of three decades,
particularly in terms of its literature and academic research. Baxter’s article is a critical
review of how interior design as a discipline has evolved, and it explores the key trends,
challenges, and shifts in the study and practice of interior design from the mid-20th century to
the early 1990s. For students studying the history of interior design, Baxter’s work provides a
valuable lens through which we can explore the development of the field both academically
and professionally.

Here are several key insights from Baxter's article that can help deepen an understanding of
the history of interior design:

1. Interior Design as an Emerging Discipline

 From Decoration to Design: Baxter traces the evolution of interior design from its
origins in decoration and craftsmanship to a more formalized, academically
recognized profession. Historically, interior design was closely linked with the arts of
decoration and home furnishing, with a heavy emphasis on aesthetics and style. By
the mid-20th century, however, the field began to distinguish itself from mere
decorative arts and emerged as a discipline concerned with both function and
aesthetics.
 Professionalization: Baxter notes how interior design began to be seen as a
professional discipline in the post-World War II period, especially with the rise of
design schools and associations. This professionalization was marked by the
 development of more formal educational programs, certifications, and a clearer
understanding of the role of interior designers in shaping spaces for both practical use
and visual appeal.

2. The Influence of Modernism and the Rise of Functionalism

 The Modernist Movement: As Baxter observes, the influence of modernism played a

pivotal role in shaping interior design in the mid-20th century. Modernist principles,
which emphasized simplicity, functionality, and the rejection of unnecessary
ornamentation, had a profound impact on the design of interior spaces. This was
evident in the use of clean lines, open spaces, and the integration of new materials
(such as steel and glass) into interior design, promoting a more utilitarian approach.
 Functionalism in Interior Design: The modernist emphasis on functionality over
decoration led to a greater focus on how interior spaces could be designed to enhance
daily life. Baxter highlights how the profession began to adopt principles of
functionalism, wherein the design of a space was seen as an exercise in meeting the
practical needs of its occupants while still maintaining aesthetic integrity.

3. The Role of Psychological and Social Factors in Interior Design

 Environmental Psychology: Baxter discusses the increasing importance of

environmental psychology in interior design, which emerged as a field of study in the
1960s and 1970s. This approach emphasized how interior spaces could influence
human behavior, well-being, and emotions. Designers began to recognize that
interiors were not just physical spaces but environments that could promote comfort,
productivity, and even psychological healing.
 Social and Cultural Influences: As interior design evolved, so too did the
understanding of how spaces interact with the social and cultural contexts in which
they are created. Baxter notes that designers began to consider the ways in which
culture, gender, class, and ethnicity influenced how people perceive and use space.
For example, domestic spaces were increasingly seen as reflections of personal
identity and social status, leading to greater attention to how interiors could express
individual or family values.

4. Technological Advances and New Materials

 Technological Innovation: Baxter highlights the impact of technological

advancements on the field of interior design, particularly in relation to the
development of new materials and construction techniques. Innovations in lighting,
climate control (air conditioning and heating), and the use of synthetic materials
allowed for more versatile and sustainable design solutions. The introduction of
modular furniture, for example, revolutionized the flexibility and functionality of
interior spaces.
 Sustainability and Ecological Concerns: By the 1980s, ecological concerns began to
influence interior design practices, prompting interest in sustainable materials and
energy-efficient design. Baxter observes how environmental awareness led designers
to rethink the materials they used, incorporating recycled materials and renewable
resources into their projects.
5. The Rise of Interior Design as a Subject of Academic Study

 Expanding Literature and Research: Baxter's article points to the explosion of

literature on interior design in the 1970s and 1980s, reflecting the increasing academic
interest in the subject. In the past, interior design was often considered more of a
practical skill than an academic discipline, but the increasing body of research
signaled its growing recognition as a field worthy of serious study.
 Interdisciplinary Connections: The academic study of interior design also began to
draw on various other disciplines, including architecture, art history, sociology, and
psychology. Baxter discusses how this interdisciplinary approach has enriched the
field by providing new insights into how people interact with space, how spaces affect
human behavior, and how design influences the way people experience and navigate
the built environment.

6. The Changing Role of the Interior Designer

 From Domestic to Commercial Spaces: Initially, interior designers were primarily

concerned with residential spaces. However, Baxter notes that by the late 20th
century, interior designers began to expand their focus to include commercial,
institutional, and public spaces. This shift was driven by the growing complexity of
commercial environments (such as offices, hospitals, and retail spaces) and the
increased demand for designers to create functional, aesthetically appealing, and
efficient environments for businesses and organizations.
 Design for Diversity: The late 20th century also saw a shift toward recognizing the
need for design that accommodates diverse populations. Baxter points to the growing
interest in designing for various needs, including accessible design for people with
disabilities, as well as culturally sensitive design for diverse user groups.

Key Takeaways for the Course Manual

1. Interior Design as a Profession: Baxter’s article highlights the evolution of interior

design from a craft-based discipline to a professional field with distinct educational
and practice standards. The growth of professional associations and certification
processes helped solidify interior design as a legitimate and recognized career.
2. Technological and Material Advances: Technological developments, including
advances in lighting, materials, and construction techniques, have continuously
influenced the design of interior spaces. New materials and technologies have allowed
for more flexible, functional, and sustainable interior solutions.
3. Psychological and Social Factors: The integration of psychology into interior design
underscores the importance of creating spaces that respond to human needs, both
physical and emotional. Environmental psychology, in particular, has had a
significant influence on the design of spaces to enhance well-being.
4. The Changing Scope of Interior Design: The role of the interior designer expanded
over time, moving from residential interiors to include complex commercial and
institutional spaces. The field has become increasingly interdisciplinary, incorporating
elements from architecture, sociology, art history, and more.
5. Expanding Literature and Research: The growing body of literature on interior
design reflects its rise as an academic field. This literature, along with the increasing
focus on research and theory, has played a significant role in shaping the evolution of
the profession.
Discussion Questions:

1. How did the modernist movement influence interior design, and in what ways did it
shift the focus from decoration to functionality?
2. How does the role of interior design in residential spaces differ from its role in
commercial or institutional settings?
3. How have technological advancements influenced the materials and techniques used
in interior design?
4. In what ways has the academic study of interior design enriched the profession? What
are the key interdisciplinary connections that have shaped the field?

Baxter's article offers a comprehensive overview of the key changes and developments in
interior design over a critical 30-year period, making it an invaluable resource for
understanding the evolution of the discipline.

You said:
how does the above topic relate to objects and material cultutre
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The topic of Interior Design as explored in Baxter's article, "Thirty Years of Growth in the
Literature of Interior Design", directly intersects with the field of Objects and Material
Culture, as both deal with the relationship between people and the material world. Interior
design and material culture share common ground in understanding how physical
environments, objects, and spaces are imbued with meaning, function, and cultural
significance. Here's how they are interconnected:

1. Objects as Key Components of Interior Spaces

 Material Culture and Interior Design: Objects, furniture, fixtures, and decorative
items are integral components of interior design. In material culture studies, objects
are not just seen as utilitarian; they carry social, cultural, and historical meanings.
Similarly, in interior design, the selection of objects, their arrangement, and their
function are central to shaping the emotional and psychological impact of a space. For
instance, a chair in a living room is not just a functional item; it can signify comfort,
style, social class, or cultural identity.
 Designing with Objects: In interior design, objects serve as both functional
elements and cultural symbols. Baxter's article emphasizes the way interior design
increasingly considers social, psychological, and cultural factors when designing
spaces. Material culture also looks at how objects—such as furniture or decorative
items—reflect societal norms, values, and identities. For example, the materials and
styles chosen for a living room can reflect the family's values, social status, and even
political views.

2. Cultural Significance of Design Choices

 Cultural Identity through Interior Design: Just as objects in material culture carry
cultural meaning, so do the designs of interior spaces. Through interior design, people
express their cultural values, social positions, and personal identities. This is closely
 tied to material culture, where objects are analyzed for the way they represent or
construct social and cultural identity. In an interior, the objects placed within the
space (e.g., artworks, family heirlooms, furniture styles) often signify the cultural and
historical narratives of the individuals or groups who occupy it.
 Historical Influence: Baxter highlights how interior design evolved alongside
broader social changes, influenced by modernist movements, technological
advancements, and new cultural trends. This relates to how objects in material culture
reflect historical periods and shifts in society. For instance, mid-century modern
furniture reflects mid-20th-century values of efficiency, simplicity, and optimism,
while older, more ornate furnishings reflect different cultural ideals and historical
contexts.

3. Psychology and the Material World

 Environmental Psychology: In interior design, one key theme discussed by Baxter is

the growing importance of environmental psychology—the idea that interior spaces
can influence behavior, emotions, and well-being. Material culture also explores how
the materiality of objects (their texture, form, and placement) can affect the way
people interact with and feel about their environment. The physicality of objects in a
space can alter perceptions of comfort, status, and identity, much as the material
properties of objects in material culture studies shape emotional and psychological
responses.
 Emotional Attachment to Objects: In both material culture and interior design,
objects often carry personal or collective emotional significance. An object within an
interior space (such as a family photograph or a cherished piece of furniture) may
hold memories, reinforce identity, or serve as a point of connection to cultural or
familial history. Baxter's reference to the growing role of psychological factors in
interior design aligns with the material culture idea that objects hold personal and
collective meanings.

4. Material Choices Reflecting Technological and Social Change

 Impact of Technology on Design: Baxter notes the influence of technological

advancements on interior design, particularly in the post-WWII era, such as the use of
new materials and innovative production techniques. This mirrors material culture’s
focus on how objects are shaped by and reflect technological change. The
introduction of synthetic materials, modular furniture, and new lighting technologies
changed the look and function of interior spaces, just as the development of new
objects in material culture reflects technological progress and shifting production
methods.
 Social Change and Material Culture: The social changes Baxter describes, such as
the growing emphasis on commercial and institutional interior design or the
recognition of diverse user needs, parallel the shifts seen in material culture. Just as
interior design began to address broader social needs (e.g., accessibility, inclusivity),
material culture studies increasingly focus on how objects serve diverse populations,
reflecting broader social dynamics.
5. The Interdisciplinary Nature of Interior Design and Material Culture

 Interdisciplinary Connections: Both interior design and material culture are

interdisciplinary, drawing on fields like sociology, anthropology, psychology, and art
history. Baxter discusses how the academic study of interior design expanded and
became more interdisciplinary over time, incorporating research from psychology,
social sciences, and technology. Similarly, material culture involves analyzing objects
from multiple perspectives, including historical, cultural, and social contexts.
 Spaces as Material Culture: Baxter’s view of interior design as a reflection of
broader societal shifts aligns with material culture’s view that objects and spaces are
carriers of cultural meaning. An interior space, like any object, is a site of cultural
expression, where choices about furnishings, layout, color, and design communicate
values and ideas about identity, community, and history.

6. Designing with Meaning

 Objects as Vessels of Memory and Meaning: Just as material culture views objects
as repositories of memory, Baxter’s analysis of interior design highlights how spaces
(and the objects within them) carry personal, familial, or cultural meanings. For
example, a vintage chair might not just serve a functional role in an interior but could
also be imbued with family history, symbolizing continuity or personal significance.
This ties into material culture's exploration of how objects are not just products but
symbols of larger social, historical, and cultural contexts.

Conclusion: The Intersection of Interior Design and Material Culture

In essence, interior design and material culture are deeply interconnected because both
explore how people interact with the material world to create meaning, identity, and cultural
expression. Baxter’s insights into the evolution of interior design as a professional discipline
reflect material culture’s core focus on how objects and spaces shape—and are shaped by—
human experience. Interior design does not merely arrange objects; it creates environments
where those objects, through their form, function, and placement, convey cultural narratives
and respond to the social and psychological needs of individuals and communities. By
considering both interior design and material culture together, we can gain a richer
understanding of how objects, spaces, and design practices mediate our relationship with
the world around us.

Key Points for the Course Manual

 Objects as Integral Parts of Interior Spaces: Both interior design and material
culture examine how objects within a space contribute to the identity and function of
that space.
 Cultural and Emotional Significance: In both fields, objects and spaces carry
cultural, historical, and emotional meaning.
 Technological and Social Change: Both interior design and material culture respond
to technological innovations and changing social values.
 Interdisciplinary Connections: The study of interior design and material culture
involves drawing from various academic fields to understand the impact of objects
and spaces on human life.
By exploring how interior design and material culture intersect, students can develop a more
comprehensive understanding of how designed environments and the objects within them are
not only functional but also deeply embedded with cultural, psychological, and historical
meanings.

Everyday Objects and the Concept of "Homing"

Boccagni, P. (2022). "Homing: A Category for Research on Space Appropriation and

‘Home-Oriented’ Mobilities".Mobilities, 17(4), 585–601.

In "Homing: A Category for Research on Space Appropriation and ‘Home-Oriented’

Mobilities", Paolo Boccagni introduces the concept of homing to explore how people,
particularly those experiencing mobility, use physical and emotional processes to create a
sense of "home." While the article primarily focuses on the shifting notion of "home" in the
context of migration and mobility, it also engages deeply with how everyday objects play a
crucial role in this process of space appropriation and home-making.

Key Insights from the Article and their Relation to Everyday Objects:
1. Homing as a Process of Space Appropriation

 Space Appropriation: Boccagni describes homing as an ongoing process where

people “appropriate” spaces to transform them into places that feel familiar, safe, and
personal. This can occur in a range of settings, such as temporary accommodations or
new locations, especially when individuals or families are in the process of migrating
or relocating.
 Role of Objects: Everyday objects are central to this process of appropriation. They
are not just functional items but anchors of identity, memory, and belonging. These
objects might include family photographs, clothing, keepsakes, or furniture that help
make a new or temporary space feel like “home.” Objects are thus carriers of
emotional and cultural meanings, which are integral to the process of "homing" that
Boccagni discusses.
2. Home-Oriented Mobilities and Everyday Objects

 Mobile Homes: Boccagni extends the concept of “home” to people who move
frequently or live in transitional spaces. He describes how mobile populations—
whether migrants, refugees, or people in temporary housing—carry objects that offer
stability and continuity amidst constant movement.
 Objects as Tools for Stability: These objects, though often everyday or mundane,
provide a sense of continuity and security. For example, a person might carry a
cherished piece of furniture, a blanket, or photographs, each of which helps anchor
them in new environments, making temporary spaces feel more like "home" despite
their impermanence.
 Physical and Emotional Mobility: Boccagni’s focus on mobility links to the way
people use objects as both physical and emotional tools to stabilize their experiences
of space. The interaction with everyday objects becomes a means of ensuring that,
regardless of location, a person can create a home-like environment.

3. Objects and Emotional Attachments to Space

 Objects as Emotional Anchors: Boccagni underscores the emotional connection that

people develop with objects when they are displaced or in the process of migration.
For example, objects like heirlooms, personal clothing, or specific furniture pieces can
represent continuity, memory, and cultural identity. This emotional attachment helps
people build a “sense of home” even in spaces that are foreign or temporary.
 Material Culture of Home: In this context, everyday objects take on significance
beyond their material value. They become representations of personal history, familial
bonds, and cultural roots. As such, the study of material culture in migration and
mobility emphasizes how these objects become essential for constructing a sense of
place and identity, especially in contexts of displacement.

4. Homing and the Role of Domestic Objects

 Domesticity in Motion: Boccagni’s theory of homing intersects with the concept

of domesticity, which is typically associated with stable, permanent homes. However,
in contexts of mobility, domesticity becomes more fluid. The everyday
objects involved in domestic practices—from cooking utensils to personal items—
become essential to maintaining a sense of order, comfort, and belonging, even when
the space around them is not fixed.
 Flexibility and Adaptability: These objects often adapt to new circumstances and
places. Boccagni argues that the material culture of migration reflects the capacity of
individuals to reconfigure their lives and establish new home spaces that meet their
emotional and physical needs. The flexibility of everyday objects allows them to take
on multiple roles in different settings, enhancing their significance in the process of
home-making.

5. The Politics of Home and Everyday Objects

 Displacement and Identity: For displaced or migrant populations, the concept of

home is political as well as personal. Boccagni discusses how home-oriented
mobilities often involve negotiating identity, belonging, and community in uncertain
and sometimes hostile environments. Everyday objects play a critical role in these
 negotiations, serving not only as markers of personal history but also as symbols of
cultural belonging and resistance.
 Objects and Cultural Continuity: Objects often symbolize a person's cultural
heritage, practices, and rituals. In the process of migration, these everyday objects
help preserve a link to one’s cultural origins, reinforcing a sense of continuity despite
the disruption caused by displacement. Thus, objects can act as cultural symbols that
assert identity and challenge the disorienting effects of mobility.

Connections to Material Culture:

 Material Culture as a Lens for Understanding "Homing": Boccagni’s research on

homing highlights how material culture—specifically everyday objects—is central
to understanding how people create meaning in physical spaces. Objects are not just
passive items; they actively shape how individuals experience their environment and
construct their sense of home.
 Home as a Material Practice: Boccagni’s focus on home-making as a material
practice aligns with material culture’s emphasis on how objects and artifacts are
deeply tied to cultural, emotional, and social processes. The idea that people “bring
home with them” through the objects they carry is a crucial insight that enriches both
studies of interior design and material culture, illustrating how objects are not only
practical but also symbolicand emotionally significant.

Key Takeaways for the Course Manual:

1. Everyday Objects as Tools for Space Appropriation: Boccagni’s idea of "homing"

ties into material culture by showing how everyday objects help individuals
appropriate spaces, creating a sense of home even in transient or unfamiliar settings.
2. Objects as Emotional and Cultural Anchors: In the context of migration, everyday
objects become emotional anchors, helping to stabilize identity and emotional well-
being. These objects are deeply intertwined with memory, culture, and continuity,
providing comfort and a sense of belonging.
3. Material Culture of Mobility: Everyday objects have the power to reshape
domestic spaces—even mobile or temporary ones—making them meaningful and
home-like. Objects in migration are not just items; they are part of the emotional
landscape that connects people to their histories and identities.
4. The Role of Objects in Home-Oriented Mobilities: Whether in the context of
migration or frequent relocation, material culture helps us understand how people
reconfigure their lives by using everyday objects to navigate physical and emotional
displacement. These objects become part of the process of making home wherever
one goes.

Discussion Questions:

1. How do everyday objects contribute to the process of "homing," especially for

individuals experiencing displacement or mobility?
2. In what ways do objects serve as emotional or cultural anchors for people in new or
unfamiliar spaces? Can you think of any examples from your own life?
3. How does the material culture of migration and mobility challenge traditional notions
of "home" and "belonging"?
 4. How might interior designers and architects incorporate the concept of "homing" into
their practices to create more adaptable and emotionally supportive spaces for people
on the move?

In conclusion, Boccagni's concept of homing offers a valuable perspective on how everyday

objects—often viewed as mundane or utilitarian—become central to the emotional and
cultural processes of home-making, especially in contexts of migration and mobility. This
insight connects closely with the study of material culture, revealing the profound impact
that objects have on shaping experiences of place, identity, and belonging.

Examples:

In his 2022 article Homing: A Category for Research on Space Appropriation and ‘Home-
Oriented’ Mobilities, Paolo Boccagni explores the concept of homing as a framework for
understanding how people navigate, appropriate, and relate to spaces in their daily lives,
particularly with respect to the idea of home. Boccagni uses the concept of homingto examine
how objects, spaces, and mobilities are intertwined in the creation of a sense
of belonging and identity.

Let’s break down the key ideas from Boccagni’s reading and draw connections to the broader
themes of everyday objects, space appropriation, and mobility, especially focusing on how
objects are central to the experience of “home” and “mobility” in the context of modern life.

1. The Concept of Homing

In the article, Boccagni introduces the term “homing” as a conceptual tool to understand
the dynamic relationship between people and their spaces. Homing isn’t just about
physically residing in a space (e.g., a house or apartment); it’s about the emotional and social
processes that turn a space into something that feels like “home.” It involves appropriating
space, marking it as one’s own, and, crucially, linking that space to mobility and social
relationships.

 Example: Imagine a backpack—for someone who frequently moves between cities

or countries, their backpack becomes more than just a functional object. It’s a mobile
home that carries essential items, links the person to their routines, and helps them
navigate different spaces. The backpack enables a sense of belonging wherever they
go.
 Example: A family heirloom, like an old photo album, might be carried from one
house to another, playing an important role in the process of turning a new, unfamiliar
space into one that feels like "home." The objects in the album, and the act of keeping
them, reinforce a connection to the past and to a sense of stability, no matter where
the individual moves.

In this sense, homing is not only about having a physical space, but about feeling rooted and
connected to where you are through the objects and practices that you bring with you.

2. Space Appropriation and the Role of Objects

Space appropriation refers to the way in which people claim and transform physical spaces
through their presence and the objects they place within them. According to Boccagni,
objects are crucial in this process because they help create meaningful associations with the
spaces we inhabit.

 Example: A coffee table in a living room might seem like a simple piece of furniture,
but it’s part of how a person or family “appropriates” the space and makes it feel like
a home. The coffee table is often surrounded by items that reflect personal taste, like
magazines, family photos, or decorative objects. These items, while often mundane,
help to establish a sense of comfort and ownership over the space, transforming it
from a neutral place into one that feels like “home.”
 Example: Similarly, someone who lives in a temporary rental may bring in a few
personal objects (e.g., a favorite blanket, framed pictures, or a plant). These objects
are tools of space appropriation—they infuse the otherwise impersonal space with
personal significance and offer a sense of belonging, even in a place that isn’t
“permanent.”

3. Home-Oriented Mobilities

Boccagni emphasizes that mobility and home are not mutually exclusive. He introduces the
idea of home-oriented mobilities, which refers to how people and objects travel with
individuals and contribute to creating a sense of home wherever they go. This contrasts with
traditional views of home as a fixed, immovable entity.

In the context of homing, everyday objects play a crucial role in maintaining continuity of
identity and comfort, even during times of movement or relocation. Objects in this sense
become integral to the process of mobilizing one’s sense of belonging and creating
temporary homes.

 Example: Consider someone who works as a digital nomad.

Their laptop, headphones, and portable coffee mug are essential tools for both their
work and personal life. While they may move between different cities and countries,
these objects help them create a stable, personalized work environment wherever they
are. The laptop, for instance, can be thought of as an object of “home-oriented
mobility”—it is an object that allows them to bring their work-life routines into
different spaces.
 Example: Another example can be the experience of refugees or migrants, who,
when they are forced to move across borders, often carry essential personal
objects that remind them of their past lives and their connection to home. These
objects—whether it’s a family photo, a religious symbol, or clothing—help them
hold onto a sense of identity, even in spaces where they are strangers.

4. Everyday Objects as Symbolic and Practical

Boccagni also touches on the idea that everyday objects are not just practical tools; they are
symbolic markers of how we relate to the idea of home. These objects perform dual roles—
they are both functional (providing material support for our daily lives)
and symbolic (representing our identities, memories, and connections to places and people).

 Example: A kitchen knife might seem like just a tool for cooking, but in many
households, it carries sentimental value—perhaps it’s an heirloom passed down
through generations or a gift from a loved one. This object, while functional,
 carries symbolic weight—it connects its owner to past generations, to memories of
family meals, and to the cultural practices of cooking.
 Example: A musical instrument, like a guitar, can be a highly personal object that
reflects an individual’s identity, lifestyle, and values. When traveling, the instrument
may also represent the desire to create a sense of home in new places—playing the
guitar in a new environment can recreate the comfort of one's familiar space.

5. Mobile Home and Immobile Objects

Boccagni touches on the mobility of homes and how everyday objects often accompany
us on journeys that transform our relationship to space. While homes themselves may be
immobile (e.g., a house or an apartment), the objects within them can be moved, giving
people a sense of belonging wherever they go.

 Example: Consider a person who frequently travels for work. They may not have a
fixed residence, but they create a sense of home by carrying along familiar objects:
a favorite mug, a book, or a pillow. These objects allow them to shape their
experience of each new space, making it feel like home even in unfamiliar
surroundings.
 Example: For someone who has a physical disability or health condition, certain
everyday objects—like a mobility aid, specialized chair, or medication—become
integral to how they navigate different spaces. These objects help them maintain a
sense of autonomy, stability, and identity in different environments, regardless of their
physical mobility.

Conclusion: The Role of Objects in Homing and Everyday Mobilities

Boccagni’s work emphasizes the significant role that objects play in the emotional and
social practices of home. These objects are not just physical things—they are part of a
broader process of space appropriation and mobility that helps people create a sense
of belonging, identity, and continuity.

Everyday objects can be seen as mobile markers of home, and through their presence,
people make sense of their environments, whether they are stationary or in transit. Whether
it’s a coffee mug, musical instrument, or family photograph, these objects allow people to
carry their sense of self with them, transforming any space into one that feels familiar and
meaningful.

In a world marked by increasing mobility, understanding the role of everyday objects in the
creation of home-oriented mobilities can offer a deeper insight into how people interact with
the spaces they inhabit and the objects they cherish.
Everyday Objects and Home Possessions

D. Miller (2021). Home Possessions. In The Material Culture Reader, ed. Victor Buchli, 2nd
Edition, pp. xxx-xxx.

In "Home Possessions", a key work by anthropologist Daniel Miller, the focus is on the
intimate relationship between objects and the concept of home. Miller explores the way in
which home possessions—everyday objects that populate our domestic spaces—are more
than just functional items; they are deeply tied to personal identity, emotional attachment,
and the social fabric of family and community life. The chapter is instrumental in
understanding how material culture informs our relationship with home and
how objects play a central role in shaping our experiences of living spaces.

While the full text of Miller's Home Possessions covers a broad range of anthropological and
sociological ideas, we can identify several central themes that tie into both everyday
objects and the larger field of material culture. These ideas are particularly relevant to
understanding how home possessions influence personal and collective relationships with the
concept of home.

Key Insights from Miller's Home Possessions

1. Objects as Extensions of Identity

 Personal Identity through Objects: Miller argues that home possessions are often
extensions of the self. They act as physical representations of who we are, what we
value, and the stories we tell about ourselves. Everyday objects—from bookshelves to
photographs, kitchenware to furniture—become markers of personal identity and
serve as cultural signifiers. For example, an object like a favorite mug or an old
family heirloom might be associated with memories, personal history, or family
narratives.
 Materializing Social Relationships: These objects are not only tied to personal
identity but also to social identity. Miller emphasizes how possessions in the home
signify and reinforce social relationships, such as family, friends, and community.
For example, certain objects in a home might symbolize the role of a person within
the family (like a parent's desk or a child's toys) or even serve as a reminder of a
particular cultural heritage.

2. The Emotional Attachment to Everyday Objects

 Objects and Emotional Connection: One of Miller’s core arguments is that people
form emotional attachments to their home possessions. Unlike other types of objects
(such as work-related items), household items often hold sentimental value. Everyday
objects, such as a favorite chair, a blanket, or a painting, take on emotional
significance over time, becoming part of the fabric of daily life. These objects are not
just things we use; they become part of the way we experience and emotionally
connect to our homes.
 Objects as Sources of Comfort: Miller notes that the emotional value of objects in
the home is often tied to feelings of comfort, safety, and security. In times of stress or
transition, people often find solace in familiar items from their home. For example,
 moving to a new home or experiencing a period of emotional upheaval might prompt
individuals to focus on certain objects that offer stability and reassurance.

3. Objects as Cultural and Social Symbols

 Cultural Significance: Miller also explores how home possessions reflect cultural
practices and social norms. Certain objects in the home, such as family heirlooms or
religious artifacts, carry cultural meaning and represent the continuity of traditions
and beliefs. For example, in many cultures, the act of passing down specific objects—
whether it's a piece of jewelry, a rug, or a book—becomes a way to preserve cultural
heritage and reinforce social ties across generations.
 Class and Status: Miller delves into the way that home possessions can signal social
status and class. The types of objects one possesses, their style, quality, and origin,
can communicate one's socio-economic status or personal tastes. In this way, objects
are not only personal or familial possessions but also cultural markers that identify
individuals and families within a broader social hierarchy.

4. The Role of Material Culture in Home-making

 Home as a Constructed Space: Miller emphasizes that the material culture of home
possessions plays a central role in how a house becomes a home. It’s not simply the
structure or location that makes a house a home, but the items within it. The
arrangement of these objects, their personal significance, and the ways in which they
shape daily life contribute to how we construct meaning in the spaces where we live.
Home possessions help create a sense of stability and belonging, and the presence of
certain items can make unfamiliar spaces feel more familiar and comfortable.
 Changing Nature of Home: Miller also explores the dynamic nature of home and
how it is influenced by life transitions. Moving, re-decorating, and the introduction of
new possessions reflect the changing nature of home and identity over time. Objects
thus become part of a constant negotiation of what it means to "belong" in a
particular space.

5. Materiality and the Sense of Home

 Material Practices: In examining home possessions, Miller engages with the idea
that materiality is intrinsic to the experience of home-making. It’s not just the
abstract idea of "home" that people connect to; it’s the physical objects—furniture,
photographs, clothing, tools, and personal items—that make home a lived reality.
Through the physical act of interacting with everyday objects, people construct a
sense of place and belonging.
 Objects as Performative Tools: Miller’s research also underscores that home
possessions are performative in nature. That is, by arranging, displaying, or utilizing
certain objects in particular ways, people are engaging in an ongoing process
of performance and identity construction. The way we choose, place, and care for
our possessions in our homes reflects our ongoing efforts to create a sense of order,
personal meaning, and social belonging.
Connections to Material Culture and Everyday Objects:

 Material Culture and Emotional Attachment: Miller’s work deeply connects

to material culture studies by highlighting how everyday objects are not just
functional; they are sites of emotional investment and symbolic significance. These
objects shape our relationship with space and identity in ways that go beyond their
utilitarian function.
 Everyday Objects as Cultural Expressions: Just as material culture examines how
objects reflect and transmit culture, Miller’s examination of home possessions
emphasizes how objects are tools of social signaling and cultural continuity. The
objects people select for their homes are part of a broader dialogue
about belonging, heritage, and status.
 Constructing the Home through Objects: Miller’s insights offer a strong
contribution to understanding how everyday objects are central to the practice
of home-making. From furniture to small trinkets, these objects serve as the building
blocks that transform a physical space into a personal, meaningful home.

Key Takeaways for the Course Manual:

1. Objects as Extensions of Identity: Everyday objects in the home are deeply

connected to personal and social identity. They serve as extensions of the self,
reflecting both individual and familial stories, cultural values, and social relationships.
2. Emotional Attachments to Home Possessions: Miller emphasizes how emotional
bonds form around home possessions, making them not just physical items but also
sources of comfort, stability, and meaning in everyday life.
3. Home as a Material Practice: The act of home-making is a continuous process
involving material practices, where home possessions shape how individuals relate
to their living space and construct a sense of belonging.
4. Cultural and Social Significance of Home Possessions: Objects in the home are
often cultural symbols that communicate personal, familial, and societal values.
They reflect cultural heritage, social status, and identity.
5. Performative Role of Objects in Creating Home: Objects are not passive; they play
a performative role in the daily routines and rituals that define home life. The way
people arrange, use, and care for their possessions is a process of identity
performance and cultural expression.

Discussion Questions:

1. How do home possessions help construct personal identity and what does this tell us
about the relationship between people and their material world?
2. Can you think of any objects in your own home that have emotional or cultural
significance? How do they contribute to your sense of “home”?
3. In what ways do everyday objects reflect social status or cultural heritage? How might
this change in different cultural or historical contexts?
4. How does Miller’s concept of home possessions help us understand the process
of material culture in the everyday lives of individuals and families?

In conclusion, Daniel Miller’s Home Possessions explores the profound role that everyday
objects play in the construction of home, emphasizing how they carry emotional, cultural,
and social significance. His work connects directly to material culture studies by
highlighting how objects are not just functional but are integral to our experiences of
belonging, identity, and continuity in our living spaces.

Heritage Objects and the Concept of Heritage

L. Smith (2006). Uses of Heritage. Routledge.

In Uses of Heritage, Laurajane Smith delves into the complex role that heritage plays in
contemporary society. Her exploration is particularly relevant for understanding heritage
objects, which are defined as tangible items that have been preserved or valued for their
connection to historical, cultural, or social significance. Smith argues that heritage is not a
neutral or static concept but a socially constructed one that is constantly shaped by political,
cultural, and personal interests.

While Smith’s book primarily addresses heritage in the context of the broader cultural
and political processes, it offers important insights into the role of heritage
objects in material culture. Heritage objects are not just historical relics; they are actively
involved in the creation of meaning, identity, and memory, shaping how individuals and
societies engage with the past, and how that past is used in the present to support various
cultural and social goals.

Key Themes from Smith's Uses of Heritage Related to Heritage Objects

1. Heritage as a Social Construct

 Heritage Objects as Socially Constructed: Smith emphasizes that heritage is not an

inherent property of objects; rather, heritage is something that
is assigned or constructed by individuals, communities, and institutions. This means
that objects become heritage objects because they are selected, valued, and
preserveddue to their significance in a particular cultural or historical context.
 Material Culture of Heritage: Heritage objects are examples of material culture,
and their status as heritage items arises out of social processes—such as collective
memory, identity formation, and political agendas. These objects often
carry symbolic power and are seen as representations of national identity, cultural
continuity, or collective values. For instance, an ancient artifact may be designated as
 a heritage object because it connects a community to its ancestral past, while a
contemporary cultural object can also be deemed significant based on its role in
current social and political discourse.

2. Heritage Objects and Identity Formation

 Cultural and National Identity: One of the key arguments Smith makes is that
heritage objects play a central role in the construction and reinforcement
of identity. National, ethnic, or familial identities are often formed through the
preservation and promotion of certain objects that symbolize historical narratives,
collective memory, and shared experiences. For example, a national monument, a
historical building, or a specific artifact can serve as a symbol of a nation’s identity,
linking the present generation to its historical roots.
 Objects as Anchors of Memory: Smith emphasizes that heritage objects
are emblems of memory and that they often serve as anchors for communal or
personal recollections of past events. For instance, a family heirloom, a traditional
garment, or an ancient weapon may be passed down through generations as a way of
preserving collective memory, telling stories of heritage, and fostering a sense
of continuity across time. These objects not only connect individuals to the past but
also influence how they construct their future identities.

3. Heritage Objects in the Context of Power and Politics

 Heritage and Power: Smith’s work also addresses the role of power dynamics in the
construction of heritage. The selection of objects for heritage preservation is not
always neutral; rather, it is often shaped by dominant political forces or cultural
elites. Heritage objects can be used as tools to support particular narratives, affirm
ideologies, or exclude certain groups from the national or cultural story. For instance,
during periods of colonization or national conflict, certain cultural objects may be
appropriated or erased to shape the dominant historical narrative.
 Heritage as Political Tool: Heritage objects can also serve as political symbols in
contemporary struggles for recognition, justice, and historical memory. In the context
of post-colonialism, indigenous communities or marginalized groups often reclaim
objects as part of a process of decolonization or repatriation, challenging traditional
notions of heritage that have been imposed by dominant political powers. Heritage
objects, therefore, are not just symbols of nostalgia or history; they are active
elements in contemporary political struggles.

4. Heritage and the Economy: Commodification of Heritage Objects

 Heritage as an Economic Asset: In the modern world, heritage is increasingly tied

to economic processes, including tourism, marketing, and the global economy.
Heritage objects, particularly those that are tangible (such as artwork, architecture,
and cultural artifacts), are often commodified and turned into products that can
be bought, sold, and displayed. Smith discusses the ways in which heritage is
transformed into an economic resource, where objects are repackaged as "authentic"
products that can be marketed to global audiences.
 Commodification and Loss of Meaning: One of Smith’s key concerns is how the
commodification of heritage objects can dilute their meaning and distort their
cultural significance. When heritage objects are reduced to tourist
 souvenirs or commercial goods, their role in the collective memory or identity
formation can be undermined, leading to a loss of the deeper, historical meanings
associated with them.

5. The Role of Heritage Objects in Cultural Preservation

 Preservation and Conservation: Smith also discusses the preservation of heritage

objects, which is often done through museums, archives, and cultural institutions.
These institutions play a key role in determining which objects are selected for
preservation and how they are interpreted. Heritage objects are often carefully
preserved and protected because they are seen as essential to the survival of cultural
or historical knowledge.
 Cultural Heritage and Authenticity: In this context, questions
of authenticity and value are central to debates about heritage objects. What makes
an object “authentic” as a heritage object? Is it the object’s historical significance, its
connection to a particular place or people, or its material characteristics? These
questions often arise in the context of heritage preservation, as institutions must
decide how to interpret and display objectswhile maintaining their perceived
authenticity and cultural value.

6. Heritage Objects and Globalization

 Global Context of Heritage: As globalization has connected people and cultures

across the globe, the concept of heritage has become increasingly complex. Smith
addresses how heritage objects are often dispersed, especially in the context of
colonialism and globalization. Objects that originated in one part of the world can be
found in museums or private collections across the globe, raising questions
about ownership, authorship, and the right to heritage.
 Cultural Appropriation and Repatriation: A significant issue in the study of
heritage objects today is cultural appropriation and the calls for repatriation of
objects that were removed from their original contexts under colonial or imperial rule.
This relates to debates over the ownership of heritage objects, as well as the question
of who has the right to define their meaning and significance.

Connections to Material Culture and Heritage Objects:

 Material Culture and Heritage: Smith’s work provides a critical framework for
understanding heritage objectsas part of the broader study of material culture.
Heritage objects are not simply passive items; they are deeply intertwined with social,
political, and cultural processes. Through the lens of material culture, we see how
these objects carry multiple layers of meaning and are actively involved in identity
formation, memory construction, and political narratives.
 Objects as Agents of Memory and Power: Heritage objects are part of the material
world that shape not only individual lives but also national and collective histories.
The objects themselves are both emblems of the pastand tools for future social and
political purposes. By examining how heritage objects are constructed, used, and
valued, we gain insight into broader issues of cultural continuity, authenticity, and
the power dynamics of heritage.
Key Takeaways for the Course Manual:

1. Heritage Objects as Social Constructs: Heritage objects are not inherent in their
historical or cultural value but are constructed through social, political, and cultural
processes. The significance of these objects is shaped by who chooses to preserve
them, and for what purpose.
2. Objects and Identity: Heritage objects play a crucial role in the construction
of personal, cultural, and national identity, often symbolizing shared memories,
cultural continuity, and the narratives of a community or nation.
3. Heritage as Power and Politics: The selection, preservation, and interpretation of
heritage objects are political acts. These objects often serve as tools in the
construction of historical narratives, reinforcing particular identities or social
structures while excluding others.
4. Commodification and Preservation: The economic aspects of heritage, such as the
commodification of objects or their preservation for tourism, can undermine
their cultural significance and alter their meanings. Similarly, the process
of preservation in institutions raises questions
about authenticity and interpretation.
5. Globalization and Ownership: In a globalized world, heritage objects are
often dispersed, raising complex questions about ownership, authorship,
and repatriation. These questions highlight the dynamic nature of heritage and its
intersection with contemporary global politics.

Discussion Questions:

1. How do heritage objects serve to reinforce or challenge cultural and national

identities?
2. What is the role of power in determining which objects become "heritage"? Who
decides what is worth preserving?
3. How does the commod

Elaboration on Kirshenblatt-Gimblett (1995). "Theorizing Heritage" and Its

Relationship to Heritage and Material Culture

In her seminal work, Barbara Kirshenblatt-Gimblett introduces a groundbreaking

perspective on heritage that shifts away from traditional views of heritage as a static,
preservational concept toward a more dynamic and performativeunderstanding. Her ideas
are highly influential for the study of material culture, particularly in
how objects and cultural practices are not just relics of the past but active participants in
shaping contemporary identities and social interactions.

Key Features of Theorizing Heritage and its Link to Material Culture

1. Heritage as a Performative Process:

o One of the most significant insights in Kirshenblatt-Gimblett’s paper is
that heritage is not a fixed, passive entity. She argues that heritage, including
its associated material culture (objects, artifacts, etc.), is
constantly constructed and reconstructed through performance. This idea
builds on the concept that heritage is something we do, rather than something
we have. It involves the active engagement of people with objects, rituals,
traditions, and practices in ways that breathe life into the past and shape it
into something meaningful in the present.
o In material culture studies, this is a critical shift from seeing objects as
static preserved artifacts to recognizing them as living, performative
elements in contemporary life. Objects associated with heritage—whether
traditional clothing, food, or instruments—are not just valued for
their historical significance, but for their ability to convey meaning and
evoke memory, nostalgia, and cultural identity when people interact with
them.
o Example: A community may practice a traditional dance as part of a cultural
festival. While the dance may have roots in a long history, it’s the re-
performance of the dance in the present that transforms it into heritage. The
act of re-enacting cultural practices makes them a living expression of
identity, culture, and continuity, rather than something from a bygone era.
2. Heritage as Commodity:
o Kirshenblatt-Gimblett draws attention to how heritage has been
commodified, especially within the context of tourism and cultural
industries. In the modern world, many cultural practices, objects, and rituals
associated with heritage are packaged and sold to global audiences as part of
a growing industry. This transformation of heritage into a marketable
commodity raises important ethical questions about the authenticity of these
representations and the potential for the exploitation of cultural traditions for
commercial gain.
o Heritage objects are increasingly re-contextualized to serve not just as
cultural markers, but also as products for consumption. This process can lead
to the creation of “staged authenticity”, where the object or practice is
altered to appeal to the expectations of tourists or external audiences rather
than faithfully representing a tradition.
o Example: In some parts of the world, traditional crafts or dances are re-
created specifically for tourist attractions, leading to debates about whether
these performances are authentic expressions of the culture or
merely productions created for economic benefit. The commodification of
these objects and practices often brings cultural elements into the global
marketplace, but it also risks reducing complex cultural heritage into
simplified, marketable stereotypes.
3. Cultural Continuity and Change:
o One of Kirshenblatt-Gimblett’s central arguments is that heritage is always in
a state of flux. It represents a negotiation between preservation and change.
 While heritage objects are often seen as symbols of continuity, material
culture itself is constantly evolving in response to contemporary needs,
political contexts, and cultural exchanges.
o Heritage practices, objects, and traditions are reinterpreted over time to
accommodate changing realities, global influences, and new technologies. As
such, heritage can never be fully preserved as it once was; it is always in the
process of becoming, shaped by the current moment and the needs of the
people who are keeping it alive.
o Example: In many indigenous communities, cultural practices such as
storytelling, beadwork, or traditional food-making are continuously adapted in
response to contemporary issues (e.g., globalization, migration, urbanization).
New materials might be used, or practices might evolve to
reflect modernconcerns, but these adaptations are still framed as part of
a heritage tradition. This shows how heritage is not just about preserving old
ways, but making sense of them in a contemporary context.
4. Heritage and Identity:
o Kirshenblatt-Gimblett highlights how heritage plays a key role in identity
formation. In both personal and collective terms, heritage objects are essential
tools through which people and communities negotiate their place in the
world. Objects associated with heritage are not just markers of cultural origin,
but active symbols of belonging and memory.
o The ways in which people engage with heritage objects—whether they are
passed down from previous generations, publicly displayed in museums, or
reinterpreted in festivals—are all part of a larger process through which people
construct their sense of self and their connection to a shared past. Heritage
is also a means of maintaining cultural continuity across generations,
especially in the face of challenges such as globalization or cultural
assimilation.
o Example: For many diasporic communities, objects such as religious
items, traditional clothing, or family heirlooms are powerful symbols
of cultural memory and identity. By preserving and displaying these items,
they not only maintain a connection to their ancestral homeland, but also
assert their presence and identity in new locations. These objects act as
bridges between the past and present, helping to navigate questions
of belonging in an ever-changing world.

Connections to Material Culture

1. Material Culture as Performance: Kirshenblatt-Gimblett’s focus on heritage as

a performative processdirectly connects to material culture studies. Objects are not
only seen as historical artifacts, but as active agentsin the performance of culture.
When we interact with objects—whether by wearing them, eating from them, or
displaying them in our homes—they are not just tools or symbols; they are also ways
in which we recreate and enact cultural meaning. This reinforces the idea that
material culture is deeply social and interactive, not merely static.
2. Heritage Objects as Sites of Negotiation: Heritage objects are dynamic sites of
cultural and social negotiation. They are part of ongoing discussions
about authenticity, cultural representation, and power. The act of preserving,
displaying, or selling heritage objects is never neutral but is bound up with issues
of ownership, control, and cultural politics. This aspect of heritage ties closely to
 the study of material culture, as objects often embody competing or conflicting
values, particularly when they are subjected to commodification or globalization.
3. Material Culture and the Creation of Identity: Heritage objects play a crucial role
in the construction of personal and collective identities. They are integral to the
process of identifying with particular cultural, familial, or national groups.
Material culture allows us to define ourselves not just through ideas or language but
through the things we cherish, preserve, and pass on.

Key Takeaways for the Course Manual

1. Heritage is a Process, Not a Product: Heritage objects are part of a

larger performative process. They are constantly reinterpreted and re-enacted,
keeping cultural traditions alive in ways that adapt to contemporary life.
2. Heritage and Material Culture Are Linked: Material culture plays a central role in
the active construction of heritage. Objects associated with heritage are not just
symbols of the past; they are living, dynamic parts of identity and cultural practice
today.
3. Heritage Objects and Commodification: The transformation of heritage objects
into commodities raises important questions about the authenticity and value of
cultural practices, especially in a globalized, market-driven world.
4. Heritage and Identity: Heritage objects are essential tools for identity formation,
whether they are passed down through generations or adapted to new contexts. They
help individuals and communities connect to their past, maintain cultural
continuity, and negotiate their place in the world.

Discussion Questions:

1. How does Kirshenblatt-Gimblett’s view of heritage as a performance challenge

traditional notions of heritage as a static, preservable entity?
2. In what ways does the commodification of heritage alter its meaning? How might
this impact the cultural significance of heritage objects?
3. How do heritage objects contribute to the construction of personal or collective
identities? Can you think of any examples from your own life where objects have
played a key role in shaping identity?
4. How does Kirshenblatt-Gimblett’s argument about the dynamic nature of
heritage objects relate to the idea of material culture as constantly evolving?

Conclusion

Kirshenblatt-Gimblett’s work highlights the importance of viewing heritage as a dynamic,

performative processrather than a static collection of objects. By framing heritage as an
ongoing cultural practice, she challenges traditional views and provides an important
perspective on how material culture is actively involved in identity formation, memory-
making, and **
Decolonized Objects: Decolonization and Indigenization

Smith, L. T. (2012). Decolonizing Methodologies: Research and Indigenous Peoples. Zed

Books.

In Decolonizing Methodologies, Linda Tuhiwai Smith addresses the systemic and historical
processes through which Indigenous peoples have been marginalized and the ways in
which research and knowledge production have traditionally been tools of colonialism. Her
work challenges mainstream approaches to research and highlights the importance
of Indigenous methodologies that center Indigenous perspectives, knowledge, and lived
experiences.

While Smith’s primary focus is on research methodologies, her work provides important
insights into the relationship between objects, knowledge production, and the process
of decolonization. Objects, in the context of material culture, play a significant role in both
the colonization and decolonization of cultures. This connection is particularly relevant
when thinking about decolonized objects—items that have been historically objectified,
appropriated, and misinterpreted by colonial systems but are now
being reclaimed, reinterpreted, and indigenized in ways that assert Indigenous sovereignty
and cultural continuity.

Key Features of Decolonizing Methodologies Relevant to Decolonized Objects:

1. Decolonization as a Reclaiming Process

 Smith’s work emphasizes the necessity of decolonization in every aspect of society,

including the material culture that has been colonized. Decolonization, in this sense,
is about reclaiming ownership of cultural objects, reviving traditional practices,
and reasserting cultural sovereignty. Colonizers have often taken control
of material culture, whether through looting artifacts, controlling land, or framing
Indigenous peoples’ cultures as primitive or in need of "improvement." The process
of decolonizing objects involves both literal repatriation of stolen artifacts and
a symbolic return of cultural practices, knowledge, and traditions that were
suppressed during colonization.
 Decolonized objects are those that once held colonial meanings or were used as tools
of domination but are now being reinterpreted through an Indigenous lens. For
example, Indigenous cultural objects, such as masks, weapons, or artifacts, that were
removed from their original context during colonial expansion are being reclaimed by
Indigenous communities as part of their effort to revive traditional
practices and assert their rightful ownership over these items.
 Example: The return of Indigenous artifacts from museums in Europe and North
America to their place of origin is a tangible example of decolonization. These
objects, often removed during colonial periods, are now seen as symbols of resistance
and cultural revival. The process of returning them goes beyond mere possession—it
 is part of a broader movement to decolonize knowledge and restore Indigenous ways
of understanding and interacting with the world.

2. Indigenization of Objects and Practices

 Smith also discusses the process of Indigenization, which involves reclaiming and
adapting colonial structures—including research practices, language, and material
culture—in ways that align with Indigenous worldviews and philosophies. In the
context of material culture, Indigenization involves taking objects and practices that
have been historically imposed or misunderstood by colonial systems
and reinterpreting them in accordance with Indigenous cultural frameworks.
 This could involve, for example, the revival of traditional crafts that were once
suppressed or altered due to colonial influence. An object like a woven basket might
be seen not just as a craft or functional item but as a living symbol of cultural
heritage, identity, and knowledge passed down through generations.
 Example: The Indigenization of the art of weaving in certain Indigenous
communities may not only involve reviving traditional weaving techniques but also
reinterpreting the practice in ways that reflect modern Indigenous life, adapting it to
current social and political contexts, and embedding it with new meanings related
to resilience and sovereignty.

3. Reclaiming Material Culture through Indigenous Knowledge Systems

 Smith’s critique of colonial research methodologies is tied to the idea that Indigenous
knowledge systems are often embodied in material culture—the objects, tools, and
artifacts that carry centuries of wisdom and practical knowledge. Decolonizing
these objects involves rejecting Western frameworks that have sought to interpret,
collect, and categorize these objects for non-Indigenous purposes, and instead
emphasizing the importance of local Indigenous epistemologies and the ways in
which these objects are connected to broader cosmologies and worldviews.
 In this framework, an object is never simply a material item; it is a carrier of
knowledge, a link between past, present, and future. Decolonizing material culture
involves reasserting the sacredness of objects that were often taken or misrepresented
by colonial powers.
 Example: An Indigenous artifact, such as a carved ceremonial bowl, may have
been taken by colonial authorities, displayed in a museum, and described solely in
terms of art or craftsmanship. However, through decolonization, this object is
reclaimed not just as an artistic item but as a ritual tool, a symbol of spiritual beliefs,
and a marker of cultural continuity.

4. Decolonizing the Relationship between Objects and Identity

 A critical aspect of decolonization, particularly as it relates to objects, is

the reconstruction of Indigenous identity through the repurposing of cultural
artifacts. Smith discusses how colonialism fractured Indigenous identities and how
part of the decolonization process is about reclaiming control over how Indigenous
peoples’ identities are represented, interpreted, and constructed.
 The material objects of a culture are key elements in this process because they are not
just representations of a particular group’s way of life; they are deeply entwined with
the lived experience of the people who make, use, and care for them. By reasserting
 ownership and control over cultural objects, Indigenous communities can reaffirm
their cultural identity, resist assimilation, and assert their right to self-
determination.
 Example: The revival of traditional dress in some Indigenous communities, which
was once suppressed or ridiculed by colonizers, serves as an important statement of
cultural pride and resilience. These objects—whether feathers, beaded garments,
or ceremonial attire—are not simply worn for aesthetic reasons but are re-signified
as powerful tools of resistance and identity formation in the post-colonial world.

The Role of Decolonized Objects in Material Culture Studies

 Reclaiming Agency: In material culture studies, decolonized objects are seen as

symbols of resistance and reclamation. By analyzing how these objects
are reclaimed and reinterpreted, scholars can better understand how Indigenous
peoples actively shape their cultural landscapes in response to the colonial past. This
involves studying how objects are imbued with new meanings and how
their roles in identity formation, memory-making, and cultural continuity are
revived or transformed.
 Cultural Revitalization: As part of decolonization, the repatriation of cultural objects
—whether they be material artifacts or practices—becomes an act of revitalization.
By reclaiming these objects and their associated practices, Indigenous communities
not only protect their cultural heritage but also reassert their political and social
sovereignty.
 Reinterpreting Colonial Collections: Museums and other cultural institutions that
hold colonial collections of Indigenous objects have an essential role in
the decolonization process. Indigenous communities are increasingly involved in
the interpretation, repatriation, and recontextualization of these objects, allowing
them to take control of their own narratives and correct misrepresentations that have
been perpetuated through colonial history.

Key Takeaways for the Course Manual

1. Decolonization as Reclamation: Decolonizing objects involves reclaiming

control over material culture, not only through physical return (e.g., repatriation) but
also through the reinterpretation of their meanings within Indigenous knowledge
systems.
2. Indigenization: Indigenization involves the adaptation of colonial practices to
Indigenous worldviews and the reassertion of cultural sovereignty through material
culture.
3. Material Culture as Resistance: Objects that were once part of colonial exploitation
are now tools of resistance, representing Indigenous people’s efforts to reclaim
identity, culture, and knowledge.
4. The Role of Museums and Institutions: Museums, cultural institutions, and even the
academic field of material culture must confront their roles in colonial histories and
engage in the decolonization of collections by involving Indigenous voices in
the interpretation and curation of objects.
Discussion Questions:

1. How does the concept of decolonized objects challenge traditional ideas of heritage
and material culture?
2. What is the role of Indigenization in reclaiming cultural practices and objects? How
might this impact the way we understand material culture in contemporary societies?
3. How can the repatriation of cultural artifacts be seen as an act
of decolonization and revitalization? What are the challenges involved in this
process?
4. In what ways does

Materiality and Decolonisation: Schultz et al. (2018) "What Is at Stake with

Decolonizing Design?"

In the article “What Is at Stake with Decolonizing Design? A Roundtable”, the authors—
Schultz, Abdulla, Ansari, Canlı, Keshavarz, Kiem, Oliveira, and others—explore the
intersections between decolonization and design, highlighting the crucial role
of materiality in this process. The roundtable offers a multi-disciplinary perspective on how
design, as a cultural and material practice, has been historically tied to colonialism and how
decolonizing design practices can offer alternative frameworks for understanding and
reshaping our material worlds.

The key concepts of decolonization and materiality are explored in this paper, focusing on
how design practices and the material objects they produce can either perpetuate or challenge
colonial legacies. In the context of design, materiality does not just refer to the physical
characteristics of objects but also to the social, cultural, and political significance of those
materials and their processes of creation, distribution, and consumption. The authors argue
that decolonization in design requires a reclamation of control over
the materials and design processes that have historically been shaped by colonial structures
of power.

Key Features and Insights from Schultz et al. (2018):

1. Design as a Colonial Tool

 The article begins by highlighting the historical role of design as a tool of colonial
power. During colonial expansion, design practices were used to impose European
standards on the materials, objects, and aesthetics of colonized peoples. Objects were
designed and produced to serve colonial purposes, whether through the exploitation
of indigenous labor, the extraction of resources, or the creation of products that
reinforced the power dynamics between colonizers and the colonized.
  Material culture, in this context, became a tool to enforce hierarchies of power—
reinforcing ideas of racial, cultural, and economic superiority. Colonial designs
often misrepresented or erased indigenous knowledge and cultural practices,
imposing a Eurocentric worldview on local materials and traditions.
 Example: The utilitarian design of colonial architecture and furniture in colonized
territories often disregarded local craftsmanship and materials, replacing them with
European styles. These new designs and objects were not just practical but carried
cultural and social significance—reinforcing colonial dominance.

2. Materiality as a Site of Decolonization

 One of the central arguments of the article is that materiality—the choice of

materials, the methods of production, and the meanings attached to objects—becomes
a key site for decolonization. In order to decolonize design, it is essential to
reconsider the relationship between materials and culture. This involves recognizing
how the history of materials has been shaped by colonialism and how Indigenous or
marginalized communities can reclaim these materials and their production processes
as a form of resistance and reclaiming sovereignty.
 The authors argue that decolonizing design means challenging Western material
practices, which often prioritize efficiency, standardization, and mass production, to
one that embraces local materials, traditional craftsmanship, and sustainable
practices. This also includes rethinking the global supply chains that perpetuate
exploitation of labor and natural resources in the Global South.
 Example: Reclaiming natural fibers or locally sourced materials for design
practices, as opposed to relying on imported or mass-produced goods, can be an act
of decolonization. By prioritizing local knowledge and materials, designers can assert
autonomy and push back against colonial legacies that have historically extracted
resources from colonized lands.

3. Reframing the Role of Indigenous Knowledge in Design

 The article stresses that Indigenous knowledge systems—particularly those related

to materials and environmental stewardship—are essential to the decolonization of
design. Indigenous communities have long had deep relationships with local
ecosystems, materials, and design practices that reflect sustainable and culturally
grounded ways of life. Decolonizing design involves recognizing
and validating these knowledge systems, which have often been dismissed or
overshadowed by Western design paradigms.
 The authors emphasize that Indigenous design practices often involve holistic
approaches to material use, prioritizing sustainable sourcing, and long-term
relationships with nature. These practices should be recognized and integrated into
contemporary design processes, which can offer critical alternatives to exploitative
and unsustainable industrial practices.
 Example: In Indigenous textiles, such as the weaving traditions of the Navajo, the
materials used are often sourced from the land itself (e.g., wool from sheep) and are
deeply tied to the cultural practices of the community. The designs themselves are not
just aesthetic choices but also carry cultural and spiritual meaning, tied to stories,
rituals, and collective memory.
4. Design as a Political Act

 The article argues that design is inherently political because it shapes our material
world, our interactions with objects, and our cultural identity. Therefore, to
decolonize design is to challenge the power structures that have historically
influenced how we make and use things.
 By examining the colonial legacy of design, the authors stress the importance of
considering the political implications of design decisions. For example, who
controls the design process? and who benefits from the design of material
objects? Decolonizing design requires rethinking not only the materials used but also
the cultural narratives and power dynamics embedded in the objects we create.
 Example: The design of public monuments or memorials is often a site of
contestation. In many post-colonial contexts, monuments to colonial figures may still
stand, promoting a particular view of history that marginalizes the voices of colonized
peoples. Decolonizing design in this context could involve remaking these
monumentsto reflect the histories and contributions of Indigenous and colonized
communities.

5. The Role of Design Education in Decolonization

 Schultz et al. emphasize the importance of decolonizing design education.

Historically, design education has been centered on Western ideals of aesthetic
innovation, efficiency, and capitalist production models. To decolonize design,
educators must expand the scope of design theory to include Indigenous knowledge
systems, sustainable design practices, and alternative worldviews. This involves
engaging students in questioning the colonial origins of contemporary design
practices and giving space to non-Western approaches to materiality, sustainability,
and aesthetics.
 Example: Design programs could integrate local Indigenous crafts and sustainable
practices into their curriculum, offering students a broader understanding of the
diverse ways materials can be used and appreciated.

Key Takeaways for the Course Manual:

1. Decolonization of Design: Design has historically been shaped by colonial structures,

and decolonizing design involves rethinking not just the aesthetic choices but
the material practices that have been used to reinforce colonial power. Decolonized
design reclaims local materials and indigenous knowledge, challenging the
exploitative and extractive practices associated with colonialism.
2. Materiality and Politics: Material culture is deeply political. The materials we use
and the objects we create reflect and reinforce certain cultural values, ideologies, and
power relations. Decolonizing materiality means recognizing the histories embedded
in these materials and rethinking their significance in a post-colonial context.
3. Reclaiming Indigenous Knowledge: Indigenous knowledge systems offer important
alternatives to Western design practices. These knowledge systems are often based
on sustainable and holistic relationships with the environment, which can inform
contemporary design processes in ways that are both culturally
appropriate and ecologically responsible.
4. Decolonizing Design Education: Decolonizing design education is essential for
cultivating future designers who are aware of the colonial legacies of their practice
 and equipped with the knowledge to engage with diverse design traditions, especially
those rooted in Indigenous and marginalized communities.

Discussion Questions:

1. How does the historical role of design as a tool of colonialism influence

contemporary design practices?
2. In what ways can materiality be considered a site for decolonization in design? How
does material choice reflect broader social and political dynamics?
3. How can Indigenous knowledge about materials, design, and sustainability inform
contemporary design practices? What challenges might arise in integrating such
knowledge into the mainstream design discourse?
4. How can design education be restructured to engage with decolonized practices and
challenge dominant Western design paradigms?
5. What are the ethical implications of material design decisions in decolonized
practices, and how can designers ensure that their work contributes to cultural
sovereignty and social justice?

Conclusion:

Schultz et al.'s roundtable discussion offers a critical perspective on the need to decolonize
design, particularly through the lens of materiality. By examining the colonial history of
design and the role of material culture in perpetuating power structures, the article pushes for
a more inclusive and ethical approach to design that incorporates Indigenous knowledge,
local materials, and sustainable practices. Decolonizing design, in this sense, is not only
about challenging colonial power but also about reclaiming control over how
we shape and interact with the material world.

ffective Objects: How Objects Affect Spaces and Emotions

Sara Ahmed. “Happy Objects.” The Affect Theory Reader (Durham: Duke University
Press, 2010), pp. 29-44.

In her essay "Happy Objects", Sara Ahmed explores the ways in which objects are not only
physical items but also have affective dimensions—they can influence, shape, and mediate
emotions and feelings. This concept is part of a broader theoretical framework known
as Affect Theory, which examines how emotions and feelings are embodied, dispersed,
and circulated through material culture, social relations, and spaces. Ahmed’s work focuses
on the affective nature of objects, considering how objects can evoke emotions, create
atmospheres in spaces, and influence individuals’ experiences in various contexts.
Ahmed specifically investigates the concept of "happy objects", which are material things
that seem to exude positivity and contribute to emotional states of joy, comfort, or
satisfaction. These objects play a crucial role in understanding how materiality intersects with
emotional life and how spaces are charged with emotions through the objects placed within
them.

Key Features and Insights from “Happy Objects”

1. Affective Objects as Emotional Catalysts

 Ahmed frames objects as carriers of affect, meaning that objects themselves are not
neutral or passive; they are actively involved in shaping the emotions of
individuals. Affective objects can create or amplify feelings of happiness, nostalgia,
comfort, or even anxiety and sadness. The object itself might not inherently be happy,
but its relation to an individual or a group can imbue it with emotional significance.
 For example, a photograph, a gift from a loved one, or a well-worn favorite
item may be a "happy object" for someone, simply because it is tied to personal
memories, experiences, or emotional associations.
 Example: A child's favorite teddy bear may not be "happy" in a literal sense, but for
the child, it is an affective object associated with comfort, security, and emotional
attachment. This object generates positive feelings and becomes central to the child's
sense of well-being.

2. Objects and the Politics of Affect

 Ahmed discusses the idea that affective objects are not neutral in terms of their
emotional impacts—they can be political. Objects are often shaped by social
contexts and cultural histories, and their affective power is not purely personal or
individual but can also be shaped by collective meanings.
 For instance, certain objects, like a flag or a cultural artifact, may evoke a sense of
national pride or historical trauma. These objects are imbued with cultural
significance that can produce collective emotional responsessuch
as solidarity or grief.
 Example: In a museum space, a stolen artifact might be perceived as an object
of cultural loss and dispossession. The affective dimension of such objects could
elicit feelings of mourning and anger connected to colonial histories, influencing
how visitors emotionally engage with the object.

3. The Emotional Impact of Spaces

 Objects are not only emotionally significant in isolation, but they also play a crucial
role in how spaces are experienced. The accumulation of certain objects within a
particular space—such as a living room, office, or gallery—can create
distinct emotional atmospheres or moods.
 Spaces, in turn, can affect the way we feel and behave, and the objects within
them can contribute to these atmospheres. For example, a space decorated
with calming colors, soft textures, and familiar objects can create a
soothing, welcoming environment, while a cluttered, impersonal space filled
with disconnected objects may generate feelings of discomfort or anxiety.
 Example: Consider a museum exhibit designed to evoke a sense of calm or serenity
—it may use soft lighting, minimalistic design, and curated objects that encourage
 reflection or contemplation. On the other hand, a room of memorials or war-related
artifacts may invoke a very different affective response, such as mourning, grief, or
even anger.

4. Objects, Memory, and Emotional Attachment

 Ahmed notes that emotional attachment to objects often has roots in memory.
Objects become affective because they hold memories—they are often markers
of time, identity, and personal history. These objects are not just passive holders of
emotions; they are actively involved in the creation and circulation of feelings.
They tie individuals to their past, relationships, and experiences, creating emotional
connections that persist through time.
 Example: A family heirloom, like a piece of jewelry or a keepsake, carries with it
the emotions and memoriesof previous generations. Even after the original owner’s
death, the object can maintain a strong affective power, evoking a sense of love, loss,
or nostalgia in those who inherit it.

5. The Role of Objects in Creating Emotional Boundaries

 Objects not only serve to create emotional connections but also emotional
boundaries. They can help individuals or groups distinguish between what
is inside and outside their emotional or social space. The presence or absence of
certain objects can define who is included or excluded, what is acceptable or not, and
what kinds of emotional engagements are encouraged or resisted.
 For instance, the objects in a home may make a person feel safe and protected—but
they might also serve to exclude outsiders or signal particular cultural affiliations.
 Example: A private home filled with family portraits and personal items may
create a sense of intimacy and belonging for those living within it, but also might
send a message of exclusion or privilege to those who do not have access to that
space.

6. Objects and the Movement of Affect

 The affective nature of objects is also connected to the circulation of affect—how

emotions move between people and spaces through objects. The essay explores how
objects can serve as conduits for emotions that can spread, shift, and become
contagious across different contexts.
 Objects are often shared or exchanged, creating a chain of affective relationships that
extend beyond their immediate context. The emotional power of objects, as Ahmed
argues, is not just individual but collective—it’s part of the social circulation of
emotions.
 Example: A gift exchange can trigger a cycle of emotion: the giver feels joy in
giving, the receiver feels gratitude and happiness, and both may connect through the
object, which becomes an emblem of their relationship. Over time, the object itself
may retain emotional significance for both parties.

Key Takeaways for the Course Manual

1. Affective Objects: Objects are not just material entities; they are deeply intertwined
with our emotions and can actively shape the mood of spaces. Through their design,
 use, and emotional attachment, they serve as key players in the formation
of emotional atmospheres.
2. Objects and Social Context: The emotional effects of objects are not just personal
but are shaped by social and cultural contexts. Objects carry with them the power to
evoke collective emotions and to reflect or reinforce social relations and political
dynamics.
3. Memory and Attachment: The emotional value of objects often comes from their
connection to memories—whether it’s a personal history or cultural heritage. These
objects act as emotional anchors in our lives, preserving and evoking past
experiences and relationships.
4. Creating Boundaries and Inclusion: Objects can also serve to define emotional and
social boundaries. They can act as markers of belonging and exclusion, influencing
who is welcome and who is not within certain spaces or emotional realms.
5. Movement of Affect: The affective power of objects is not static; they circulate
emotions between individuals and communities, transforming their meanings and
emotional impacts as they move through different contexts.

Discussion Questions

1. How do affective objects shape the emotional atmosphere of a space? Can you
think of an example where a specific object changed the mood of a room or
environment?
2. In what ways do objects help to establish social boundaries? Can objects create a
sense of inclusion or exclusion within certain social groups?
3. How does the memory attached to objects influence their affective power? Can an
object change its emotional significance over time?
4. In what ways do objects circulate affect across different contexts or people? How can
the emotional energy tied to an object spread from one person to another?

Conclusion

Sara Ahmed’s concept of "happy objects" explores how material things are not just passive
entities but are active participants in our emotional lives. Objects shape our emotional states
and influence the spaces we inhabit, becoming vital parts of the affective fabric of the world.
Through their

Affective Objects: Inheritance and Emotional Attachment

Frykman, Jonas, and Maja Povrzanović Frykman, eds. Sensitive Objects: Affect and
Material Culture. Kriterium, 2016, pp. 153-177.
In the essay "Inheritance" from Sensitive Objects: Affect and Material Culture, edited
by Jonas Frykman and Maja Povrzanović Frykman, the authors explore the affective
dimensions of objects that are passed down through generations—specifically focusing on
the concept of inheritance and how material culture carries emotional weight across time.
These objects are not merely utilitarian or decorative; they become imbued with
significant emotional and social values, often connecting individuals to their ancestors and
to the histories of their families, communities, and cultures. Inheritance thus transforms
objects into "sensitive objects" that mediate feelings of belonging, memory, continuity,
and loss.

The concept of affective inheritance is central to understanding how objects are not only
passed down physically but also emotionally. Through inheritance, objects acquire a sense
of sacredness, value, and meaning that often transcends their material form, creating a
bridge between past, present, and future generations. These objects shape how we understand
ourselves and our identities, often providing emotional stability or continuity amidst the
changes of life.

Key Features and Insights from "Inheritance" in Sensitive Objects

1. Objects as Emotional Heirlooms

 The essay emphasizes the role of inherited objects as emotional heirlooms. These
objects often carry a deep affective significance for individuals or families, being
tied to memories of loved ones, family traditions, and historical events. Over time,
inherited objects accumulate emotional weight, transforming from mere physical
items into symbols of kinship, heritage, and legacy.
 These objects are more than just material possessions; they carry the emotional
history of the family or community and can act as markers
of continuity or belonging in the face of life’s transitions, such as loss, migration, or
societal change.
 Example: A grandmother’s ring or a family Bible passed down through generations
may hold more than just monetary or religious value—they are imbued with
the memories of those who have passed and represent family history, ancestral
roots, and shared identity.

2. Emotional Attachments and the Value of Objects

 The authors discuss how the emotional attachment people have to inherited objects
can enhance their perceived value. The objects are often seen as embodying
the spirit or presence of previous generations. Inherited objects are frequently viewed
as symbols of family identity and legacy, and the act of passing them down carries
the idea of preserving family values and memories for future generations.
 Example: A heirloom chair or family portrait may not only serve its functional or
aesthetic purpose but can also evoke feelings of nostalgia, grief, or respect.
The sentimental value attached to these objects can far outweigh their material
worth, and they can become central to an individual's emotional identity.

3. Transmission of Affect and Memory

 Inherited objects serve as powerful conduits for the transmission

of affect and memory. The physical object, through its materiality, becomes a vessel
 of emotion—an object that carries the affective history of its previous owners. When
an object is inherited, it often comes with a story or narrative that deepens the
emotional connection and enhances its affective power.
 These narratives are not just personal but can also be collective, representing shared
histories of cultural traditions, migrations, or historical events. Through the act of
inheritance, the object helps to reaffirm cultural continuity and strengthens
emotional ties to the past.
 Example: A military medal or war-related artifact inherited from a grandparent
who fought in a particular conflict can serve as a powerful reminder of the sacrifices
and experiences of previous generations, rekindling emotions of pride, mourning,
or solidarity.

4. Objects as Sites of Memory and Grief

 Inherited objects are also closely tied to memory, particularly memories

of loss and mourning. For many, the process of inheriting a significant object often
coincides with the death or passing of a loved one, which imbues the object with an
additional layer of grief. The object becomes a way to remember the deceased,
keeping their presence alive in the form of material culture.
 As memorials, inherited objects help individuals cope with grief by maintaining
a material connection to the past. This emotional attachment to the object can help
ease the pain of loss by offering continuity in the form of tangible, emotionally
charged items.
 Example: A heirloom watch or a handwritten letter from a loved one who has
passed on may act as a comforting presence, helping to soothe feelings
of loneliness or loss while preserving the emotional essence of that relationship.

5. Cultural and Social Dimensions of Inheritance

 Beyond personal attachments, the inheritance of objects is also a

deeply cultural and social act. Objects passed down through generations can carry
significant cultural meanings, reinforcing identity and belonging within a specific
community or family group. For example, certain objects may be passed down
among specific gendersor roles in the family, carrying cultural significance that
reinforces norms or expectations.
 In some cultures, inheritance is also tied to the transfer of power, knowledge,
or prestige, with certain objects signifying the continuation of family leadership or
the passing on of skills and traditions.
 Example: A family heirloom sword may carry not only personal but also symbolic
significance within a particular family or social class, marking the passing of
familial leadership or cultural legacy.

6. Inheritance and the Emotional Weight of Objects

 One of the central arguments in the essay is that the materiality of objects—their
texture, weight, or physical form—plays an important role in how these objects
carry emotions. The tactile experience of touching or interacting with inherited
objects often reinforces the emotional connection to the past, creating an embodied
experience of affect. The way an object feels, smells, or even sounds can evoke a
strong emotional response, deepening the attachment to the object and its history.
  Example: The familiar weight of a grandfather’s walking stick or the smell of an
old leather-bound book can evoke feelings of warmth, nostalgia, or even sadness,
connecting individuals to their personal or familial history through a sensory
experience.

Key Takeaways for the Course Manual

1. Emotional Heirlooms: Objects inherited from past generations become more than
just material possessions—they serve as emotional anchors that connect individuals
to their family, history, and identity. These objects carry the weight
of memory, tradition, and grief, acting as powerful markers of continuity and
belonging.
2. Affective Transmission: The process of inheritance is a way in which affective
ties are transmitted across generations. Through inherited objects, feelings
of love, loss, nostalgia, and pride are not only maintained but also actively passed
down, helping to preserve and reinforce family or cultural identity.
3. Memory, Grief, and Identity: Inherited objects play a key role in preserving
memories and helping individuals navigate grief. These objects act as material
carriers of emotional experiences, offering individuals a way to hold onto the
past while coping with loss and change.
4. Cultural and Social Dimensions: Inheritance is not only a personal experience but is
also deeply cultural. Objects carry social meanings that reflect cultural values, social
status, or family dynamics, further complicating the emotional significance of
inherited objects.
5. Materiality and Emotional Weight: The material characteristics of inherited objects
—how they feel, look, and smell—are crucial to their affective power. These objects
are not just carriers of history; their sensory properties enhance their emotional
impact, making the experience of inheritance a
deeply embodied and affective experience.

Discussion Questions

1. How do inherited objects help maintain or reinforce a sense of family

identity or cultural continuity? Can you think of an object that plays this role in
your life?
2. In what ways do memory and grief shape the affective power of inherited objects?
How might an inherited object help an individual cope with loss?
3. How does the materiality of an inherited object (its texture, weight, or smell)
enhance its emotional significance? Can you think of an object that has a strong
affective presence because of its sensory properties?
4. How do cultural or social values influence the way objects are inherited and their
emotional significance? How might inheritance be understood as a social ritual in
different cultures?
5. What role does the story behind an inherited object play in its affective
"The Gendered Object" (1999). Manchester University Press, pp. 12-29.

In The Gendered Object, a collection of essays edited by Victoria D. Alexander, the text
explores the concept of gendered objects—objects that carry distinct gendered
meanings and serve as markers or reflections of gender roles, identities, and expectations
within different social and cultural contexts. The chapters dissect how objects, through
design, use, and cultural context, can convey and reinforce certain gender
norms and assumptions. The focus of this section is particularly on
the symbolic and material dimensions of gender as expressed through the objects we
interact with every day.

This concept connects material culture with gender studies, offering insight into how
material things not only reflect but also reinforce social constructions
of masculinity and femininity. Objects are not neutral, and they become key in
understanding gendered behavior, social roles, and the ways in which objects are imbued
with culturally specific meanings related to identity and gendered expectations.

Key Features and Insights from "The Gendered Object"

1. Objects as Symbols of Gender Norms

 The chapter starts by exploring how objects function as symbols of gendered

expectations. Everyday objects—such as clothes, tools, household items, or even toys
—often have gendered associations that reflect societal ideas
of masculinity and femininity.
 Example: Items like makeup, high heels, and dresses are traditionally associated
with femininity, while tools, suits, and sports equipment are often linked
to masculinity. These objects not only signal gender but also enforce particular ways
of performing or expressing gender identity.

2. Gendered Objects in Historical Contexts

 The book also traces the historical evolution of gendered objects. In different periods
of history, objects and tools were designed with particular gender roles in mind,
reflecting the division of labor between men and women, especially in domestic and
public spheres.
 Example: In the Victorian era, items like corsets for women or pocket watches for
men were specifically designed to adhere to social norms around appearance, status,
and function. Such objects were not just material tools but represented broader social
constructs of gendered propriety.

3. Objects and the Performance of Gender

 One of the key arguments is that objects play a crucial role in the performance of
gender. According to the theory of gender performativity (developed by theorists
like Judith Butler), gender is not something inherent but something that is enacted
through repeated behaviors, rituals, and, importantly, through the use of objects.
  Objects are implicated in this performance as they mediate how people present
themselves and how society perceives their gender. The way people use or interact
with certain objects can reinforce or challenge traditional gender norms.
 Example: A man's suit or a woman’s handbag are not just functional items; they
are part of a gendered performance that signifies social status, identity, and
adherence to gender norms.

4. The Role of Gendered Objects in Socialization

 The essay emphasizes how objects are used as tools of socialization, teaching
individuals from a young age what is expected of them based on their
gender. Toys are one of the clearest examples of how material culture can reinforce
gender stereotypes.
 Example: Dolls and kitchen sets are often marketed toward girls, encouraging them
to take on nurturing, domestic roles, while action figures and construction toys are
aimed at boys, promoting assertiveness and physical engagement with the world.
These objects instill ideas about appropriate behavior and gender rolesthrough
play.

5. Commercialization of Gender

 The commercialization of gendered objects is another important point in the

discussion. The consumer market has long relied on the creation and perpetuation
of gender-specific products. This trend extends beyond just clothing and toys,
encompassing personal care products, home goods, and even automobiles.
 The gendered marketing of objects creates a binary system where products are
positioned as either for men or women, thus sustaining and reinforcing gender
divisions.
 Example: The way razors, shampoos, and even laptops are marketed with gender-
specific designs or messaging reinforces the idea that certain products and
experiences are inherently tied to gendered needs and identities.

6. Challenging Gender Norms through Objects

 The chapter also addresses how some objects have been used to challenge or subvert
traditional gender roles. Objects like unisex clothing, gender-neutral toys, and the
use of certain objects in queer culture can serve as forms of resistance to gender
binaries and conventions.
 The shift in the design and marketing of objects that blur gender lines is seen as part
of a broader cultural movement toward gender inclusivity and the rejection of
rigid gender norms.
 Example: The rise of gender-neutral fashion lines or the introduction
of unisex products is a form of pushing back against the idea that certain items must
be designated strictly for one gender or another.

7. Intersections of Gender with Other Identities

 The book also touches on the intersectionality of gender with other social categories,
such as race, class, and sexuality. Different cultures and communities may have
unique gendered objects, which are influenced by other aspects of identity.
  Example: A headscarf may be a gendered object in many cultures,
symbolizing femininity or modesty, but its significance changes when considering
the role of religion, ethnicity, or political views in shaping its use.

Key Takeaways for the Course Manual

1. Gendered Objects as Cultural Symbols: Objects can serve as symbols of gender

identity, reinforcing societal expectations about masculinity and femininity through
their design, use, and cultural significance. Everyday items—from clothing to tools—
often carry gendered connotations that reflect gender roles and social norms.
2. Objects and Gender Performance: The objects we use are integral to
the performance of gender. Through these material things, individuals enact and
express their gender identities in ways that are influenced by both personal preference
and societal expectations.
3. Socialization and Objects: Objects, especially toys, play a critical role in gender
socialization by shaping children’s understanding of gender roles and appropriate
behaviors. The design and marketing of gendered toys and products teach children
what is expected of them based on their gender.
4. Commercialization and Gender: The consumer market reinforces gender
distinctions by marketing objects as either masculine or feminine, contributing to
the binary understanding of gender in society. The act of buying and using gendered
objects becomes a way to conform to, or challenge, societal norms.
5. Challenging Gender Norms: Some objects subvert traditional gender roles by
offering gender-neutral or inclusive alternatives. These objects push back against the
rigid binary understanding of gender, opening space for gender
fluidity and expression.
6. Intersectionality of Gender and Other Identities: Gendered objects cannot be
understood in isolation but must be considered in relation to other factors such
as race, class, and sexuality. The significance and use of certain objects can change
across different cultural and social contexts, reflecting the complexities
of intersectionality.

Discussion Questions

1. How do gendered objects reflect and reinforce societal expectations

about masculinity and femininity? Can you think of any objects that carry strong
gendered connotations in your culture?
2. In what ways do gendered toys contribute to the socialization of children? How
might children’s play with these objects influence their understanding of gender
roles?
3. How does the commercialization of gendered products sustain or challenge
traditional gender roles? Are there any products you can think of that have begun
to blur gender lines?
4. Can objects be used as a way to resist or subvert traditional gender norms? What are
some examples of objects or products that challenge gender binaries?
5. How does intersectionality (race, class, sexuality) influence the gendered meanings
attached to objects? How do different communities perceive and use gendered objects
in different ways?

Conclusion
The Gendered Object provides an important framework for understanding the relationship
between material cultureand gender identity. Objects are not only tools or decorations—
they are deeply embedded in gender norms, shaping how people understand and perform
their gender in everyday life. By examining gendered objects, we can uncover the ways in
which material culture both reflects and enforces societal expectations of gender while also
offering opportunities for resistance and transformation.

Technological Objects

Madeleine Akrich, "The De-scription of Technological Objects"

Clifford Geertz, "The Balinese Cock-Fight"

In exploring technological objects, both Madeleine Akrich and Clifford Geertz provide
insights into how technology shapes and is shaped by culture, identity, and social practices.
The study of technological objects encompasses the ways in which technology is embedded
in society, often revealing deep cultural, economic, and ideological aspects of the people who
design, use, and interact with these objects.

1. Madeleine Akrich: "The De-scription of Technological Objects"

Akrich’s essay addresses the concept of technological objects from a sociological

perspective, focusing on the social processes that lead to the creation and appropriation of
technology. She introduces the notion of "de-scription" to understand how technologies are
represented, understood, and used by different people. The description of technological
objects is not neutral; rather, it is shaped by the values and interests of the people who create
them and the social contexts in which they are used.

Key Insights from Akrich's Work

1. Technological Design as Social Construction

Akrich argues that technological objects are not just technical tools; they are
embedded in the social context of their design, use, and meaning. Every technological
object is designed with assumptions about who will use it and in what way. Designers
implicitly or explicitly anticipate the behaviors and practices of users, shaping their
experiences with the object.
o Example: A smartphone is designed with certain functions and interfaces,
assuming that users will be tech-savvy and will use the device to access
specific services. However, the actual use of the smartphone can vary across
different cultural and social contexts. For example, in some cultures,
 smartphones are used predominantly for communication, while in others,
they are used for commerce or even social signaling.

2. Technological Objects as Cultural Artifacts

Akrich suggests that every technological object carries with it values, assumptions,
and norms from its designers, and when it is introduced into different social settings,
it may transform or adapt to new cultural contexts. This means that technologies are
not neutral or passive—they are actively shaped by the ways people interact with
them.
o Example: The design of home appliances (like a washing machine) may
differ across cultures to account for local customs, domestic routines, or
gender norms. In some cultures, domestic labor is largely gendered, while in
others, there may be different expectations of household technology usage.

3. The Role of Users in "Re-describing" Technology

Once a technological object enters the hands of the user, it undergoes a process
of "re-description". Users adapt and modify technologies based on their needs, local
customs, and practices. Thus, the user becomes an active participant in the meaning-
making of technological objects.
o Example: Online platforms like Facebook and Instagram were initially
designed for specific purposes (social networking), but users have adapted
these platforms for various purposes like business or political activism,
fundamentally reshaping how these technologies are perceived and used.

Key Takeaways from Akrich:

 Technological objects are socially constructed and have embedded values and
assumptions.
 Users are not passive recipients; they reshape technologies to suit their needs, a
process of re-description.
 Technologies can be understood as cultural artifacts, meaning their meaning and use
change across contexts.

2. Clifford Geertz: "The Balinese Cock-Fight"

While not explicitly about technological objects, Geertz's essay can be applied to
understanding the cultural significance of objects in a broader sense. Geertz uses
the Balinese cock-fight as an example of how social practices and rituals are encoded in the
objects and activities involved. The cock-fight, an activity that includes significant
technological elements (like the breeding and preparation of the cocks), reveals
how objects and technologies can carry layers of meaning related to status, culture,
and identity.

Key Insights from Geertz's Work

1. Objects as Cultural Symbols

Geertz’s analysis shows how objects, even in seemingly simple rituals like the cock-
fight, can hold deep cultural significance. The objects involved in the fight
(the cocks, the arena, the money exchanged) represent more than just material
elements—they are symbols of power, status, and masculinity in Balinese society.
 o Example: In the context of the cock-fight, the cock itself is a technological
object, bred and trained for a specific cultural function. Its preparation and the
social practices around it become vehicles for expressing larger
societal values and hierarchies.

2. Technological Objects in Cultural Context

Geertz also emphasizes that technological objects do not exist in a vacuum. Instead,
they are often interwoven with social and cultural systems. A technological object like
a cock or a knife in the cock-fight holds different meanings depending on its context.
o Example: The technology involved in preparing a cock (like breeding
techniques or training methods) is specific to the cultural practices of the
Balinese. This technological preparation is not just about the physical fight but
also a symbol of the social fabric—status, masculinity, and community
relations.

3. Objects as Performative Acts

In the Balinese cock-fight, the objects (the cocks, the arena, the money) are not just
passive items; they are involved in the performance of social identity. Geertz
suggests that objects and actions are tightly bound in symbolic acts that communicate
deeper meanings in society.
o Example: In the cock-fight, the cock becomes an embodiment of a
man’s honor and reputation. The cock-fight, as an event, is not just about the
physical fight between animals, but also about the social performance of the
man who owns the cock. The technological object (the cock) plays a crucial
role in this performance.

Key Takeaways from Geertz:

 Technological objects can be symbolic and embedded with cultural meanings far
beyond their immediate function.
 Objects can be part of performative acts, representing and enacting social identities
and hierarchies.
 The context in which objects are used is crucial to understanding their significance
and impact.

Key Takeaways for the Course Manual

1. Technological Objects as Social Constructs: Akrich emphasizes that technological

objects are not just designed for function—they are imbued with social assumptions,
which shape how they are used. These objects reflect societal values, gender roles,
and cultural practices.
2. Users and Re-description: According to Akrich, users are not just passive consumers
of technology—they actively re-describe and reshape technologies based on their
own cultural context and needs. Understanding this dynamic is key to studying the
role of technology in material culture.
3. Technologies as Cultural Symbols: Geertz’s analysis of the cock-fight reveals that
even objects like animals (in this case, the cock) are imbued with symbolic
meanings that go beyond their physical use. Technological objects always exist
within a social and cultural context, which influences how they are interpreted and
utilized.
 4. Objects and Performance: Both Akrich and Geertz suggest that objects do not
merely function mechanically. They are part of performative acts that communicate
deeper cultural and social values. In the case of the cock-fight, the cock is not just an
animal; it is a symbol of masculinity, status, and social identity.

Discussion Questions

1. How do technological objects shape and reflect social norms? Can you think of any
modern technological objects (such as smartphones, wearables, or social media
platforms) that reflect specific societal values or assumptions?
2. In what ways do users actively reshape or re-describe technological objects? Are
there any examples where technology has been used in ways completely different
from its intended purpose?
3. How do cultural contexts influence the meaning and significance of technological
objects? Can you think of examples where an object is used in one culture in a way
that radically changes its meaning in another culture?
4. How do objects in rituals or cultural performances, such as the cock-fight, act as
symbols of deeper social values? What does this suggest about the role of material
culture in understanding social identity?

Conclusion

Technological objects are never just functional; they are embedded in a rich web
of social, cultural, and symbolic meanings. Akrich’s perspective highlights how
technologies are shaped by social contexts, while Geertz’s analysis shows that
even seemingly simple objects can embody complex social identities and cultural meanings.
Both authors stress the importance of understanding the broader cultural systems in which
technological objects exist, and how these objects serve not just as tools but as active
participants in the performance and representation of social identity.

Technological Objects: "Technology is Society Made Durable" by Bruno Latour

(2013)

In his seminal essay, "Technology is Society Made Durable," Bruno Latour explores the
intricate relationship between technology, society, and material culture. Latour, a French
sociologist and anthropologist, is known for his contributions to Actor-Network Theory
(ANT), which emphasizes how both human and non-human actors (such as objects,
technologies, and systems) interact to shape social realities. In this work, he explores the idea
that technological objects are not neutral tools but instead play a vital role in stabilizing and
maintaining societal structures.
Key Insights from Latour’s Work

1. Technology as Society Made Durable

Latour’s central thesis is that technology is not merely a tool that humans use; it is an
essential part of how society is structured and maintained over time. He argues that
technology, through its design and functionality, helps to reinforce social systems
and make them durable. Technologies, by stabilizing certain practices, beliefs, and
relationships, act as "society in material form," ensuring that social norms,
hierarchies, and systems persist even as human actors change.
o Example: The internet as a technological object serves not just as a
communication tool but also as a mechanism that enforces global networks,
power structures, and economic systems. It both shapes and is shaped by
social behaviors and institutions.

2. Technological Objects as Actors in Social Networks

Latour stresses the idea of technological objects as active actors within networks.
Instead of viewing objects as passive or secondary to human action, he presents them
as integral parts of the systems that humans create. These objects do not just reflect
social order; they help create and sustain it.
o Example: In the case of automobiles, cars are not just objects that help people
move from place to place. They also shape urban design, social behavior (like
commuting), environmental impact, and even public policy (such as road
laws). Cars actively participate in shaping social systems and are shaped by
them in return.

3. The "Black Box" Concept

Latour introduces the idea of the "black box" to describe how technological objects,
once successful, become so commonplace and well-integrated into daily life that their
complexities and histories are obscured. Over time, the functioning of these
technologies becomes taken for granted, and their social and cultural implications are
hidden behind a veil of normality.
o Example: A smartphone is a technological object that once had complex
origins—designs, innovations, production processes, and socio-political
ramifications—but over time, it has become so ubiquitous that most users no
longer question its design or implications. It is a "black box" of modern life
that continues to affect social behaviors and cultural practices, often without
us questioning how or why.

4. Technological Objects as Materialized Social Agreements

Latour argues that technological objects are the result of social
agreements and compromises. They embody the negotiation of interests, values, and
power dynamics that took place during their creation. Technologies are materialized
forms of social relations that stabilize and enforce certain social arrangements.
o Example: The development of public transportation systems is not just a
technological achievement but also the outcome of negotiations between
various stakeholders—government agencies, urban planners, car
manufacturers, and the general public—each with their own interests, values,
and priorities.
 5. The Role of Technology in Modern Life
Latour asserts that in modern life, technology plays an essential role in maintaining
continuity and stability in society. Technological objects are not merely tools but
are embedded in every social institution and relationship. They allow society to
function smoothly, making complex systems of governance, economy, and culture
possible.
o Example: Technologies like credit card systems or biometric security
measures are central to maintaining order and continuity in economic
transactions, national security, and public services. These objects make the
otherwise complex and fragmented systems of modern society "durable" by
ensuring smooth functioning and creating a sense of stability.

Key Takeaways for the Course Manual

1. Technology as a Social Force: Latour challenges the traditional view of technology

as a mere tool and argues that technological objects actively shape and are shaped by
social relations. They are not neutral; rather, they help sustain the fabric of society by
making certain behaviors, systems, and practices more durable and stable.
2. Actor-Network Theory (ANT): Latour's work is foundational to Actor-Network
Theory, which views both human and non-human actors (such as objects) as part of a
network that collectively influences social outcomes. Technological objects are seen
as agents within these networks, influencing human actions and decisions.
3. The Hidden Role of "Black Boxes": Latour introduces the concept of the "black
box" to illustrate how once technologies are successfully implemented, their complex
origins and implications are often forgotten. The more integrated a technology
becomes into daily life, the more invisible its role in shaping social order becomes.
4. Technologies as Materialized Social Agreements: Every technological object
represents a negotiated compromise between different social forces, values, and
priorities. These objects are materialized forms of societal agreements that stabilize
and enforce social arrangements and relations.
5. Durability and Continuity in Society: Technologies help ensure continuity in
society by enabling complex systems (economic, political, cultural) to function. By
stabilizing behaviors and expectations, technological objects provide a foundation for
the durability of social institutions.

Discussion Questions

1. How do technological objects contribute to the stability and continuity of social

systems? Can you think of examples where technology has helped enforce or
reinforce societal norms and values?
2. How might the "black box" concept apply to everyday technologies
like smartphones, computers, or home appliances? In what ways are we unaware of
the underlying social or political forces embedded in these technologies?
3. In what ways do technological objects serve as materialized forms of social
agreements? Can you think of a technology that reflects the negotiation of
values or compromise between different groups or interests?
4. How does Actor-Network Theory (ANT) help us understand the role
of technology in shaping social behavior? How does it challenge the idea that
technology is simply a passive tool?
 5. How do technological objects serve to reinforce or challenge power structures
within society? Are there instances where a technological object has disrupted or
transformed social arrangements?

Conclusion

Bruno Latour’s essay, "Technology is Society Made Durable," offers a powerful framework
for understanding technological objects as active participants in shaping social life. Instead
of merely being tools or instruments, technologies are embedded in and constitutive of the
social, cultural, and political networks they inhabit. Latour’s theory emphasizes
the durability and stability that technologies provide to social systems, as well as
the complex relationships between humans and objects. By examining technological
objects through this lens, we gain a deeper appreciation of how material culture both reflects
and influences the structures that govern human society.

Technological Objects: "Technology is Society Made Durable" by Bruno Latour

(2013)

In his seminal essay, "Technology is Society Made Durable," Bruno Latour explores the
intricate relationship between technology, society, and material culture. Latour, a French
sociologist and anthropologist, is known for his contributions to Actor-Network Theory
(ANT), which emphasizes how both human and non-human actors (such as objects,
technologies, and systems) interact to shape social realities. In this work, he explores the idea
that technological objects are not neutral tools but instead play a vital role in stabilizing and
maintaining societal structures.

Key Insights from Latour’s Work

1. Technology as Society Made Durable

Latour’s central thesis is that technology is not merely a tool that humans use; it is an
essential part of how society is structured and maintained over time. He argues that
technology, through its design and functionality, helps to reinforce social systems
and make them durable. Technologies, by stabilizing certain practices, beliefs, and
relationships, act as "society in material form," ensuring that social norms,
hierarchies, and systems persist even as human actors change.
o Example: The internet as a technological object serves not just as a
communication tool but also as a mechanism that enforces global networks,
power structures, and economic systems. It both shapes and is shaped by
social behaviors and institutions.
2. Technological Objects as Actors in Social Networks
Latour stresses the idea of technological objects as active actors within networks.
Instead of viewing objects as passive or secondary to human action, he presents them
as integral parts of the systems that humans create. These objects do not just reflect
social order; they help create and sustain it.
o Example: In the case of automobiles, cars are not just objects that help people
move from place to place. They also shape urban design, social behavior (like
commuting), environmental impact, and even public policy (such as road
laws). Cars actively participate in shaping social systems and are shaped by
them in return.

3. The "Black Box" Concept

Latour introduces the idea of the "black box" to describe how technological objects,
once successful, become so commonplace and well-integrated into daily life that their
complexities and histories are obscured. Over time, the functioning of these
technologies becomes taken for granted, and their social and cultural implications are
hidden behind a veil of normality.
o Example: A smartphone is a technological object that once had complex
origins—designs, innovations, production processes, and socio-political
ramifications—but over time, it has become so ubiquitous that most users no
longer question its design or implications. It is a "black box" of modern life
that continues to affect social behaviors and cultural practices, often without
us questioning how or why.

4. Technological Objects as Materialized Social Agreements

Latour argues that technological objects are the result of social
agreements and compromises. They embody the negotiation of interests, values, and
power dynamics that took place during their creation. Technologies are materialized
forms of social relations that stabilize and enforce certain social arrangements.
o Example: The development of public transportation systems is not just a
technological achievement but also the outcome of negotiations between
various stakeholders—government agencies, urban planners, car
manufacturers, and the general public—each with their own interests, values,
and priorities.

5. The Role of Technology in Modern Life

Latour asserts that in modern life, technology plays an essential role in maintaining
continuity and stability in society. Technological objects are not merely tools but
are embedded in every social institution and relationship. They allow society to
function smoothly, making complex systems of governance, economy, and culture
possible.
o Example: Technologies like credit card systems or biometric security
measures are central to maintaining order and continuity in economic
transactions, national security, and public services. These objects make the
otherwise complex and fragmented systems of modern society "durable" by
ensuring smooth functioning and creating a sense of stability.
Key Takeaways for the Course Manual

1. Technology as a Social Force: Latour challenges the traditional view of technology

as a mere tool and argues that technological objects actively shape and are shaped by
social relations. They are not neutral; rather, they help sustain the fabric of society by
making certain behaviors, systems, and practices more durable and stable.
2. Actor-Network Theory (ANT): Latour's work is foundational to Actor-Network
Theory, which views both human and non-human actors (such as objects) as part of a
network that collectively influences social outcomes. Technological objects are seen
as agents within these networks, influencing human actions and decisions.
3. The Hidden Role of "Black Boxes": Latour introduces the concept of the "black
box" to illustrate how once technologies are successfully implemented, their complex
origins and implications are often forgotten. The more integrated a technology
becomes into daily life, the more invisible its role in shaping social order becomes.
4. Technologies as Materialized Social Agreements: Every technological object
represents a negotiated compromise between different social forces, values, and
priorities. These objects are materialized forms of societal agreements that stabilize
and enforce social arrangements and relations.
5. Durability and Continuity in Society: Technologies help ensure continuity in
society by enabling complex systems (economic, political, cultural) to function. By
stabilizing behaviors and expectations, technological objects provide a foundation for
the durability of social institutions.

Discussion Questions

1. How do technological objects contribute to the stability and continuity of social

systems? Can you think of examples where technology has helped enforce or
reinforce societal norms and values?
2. How might the "black box" concept apply to everyday technologies
like smartphones, computers, or home appliances? In what ways are we unaware of
the underlying social or political forces embedded in these technologies?
3. In what ways do technological objects serve as materialized forms of social
agreements? Can you think of a technology that reflects the negotiation of
values or compromise between different groups or interests?
4. How does Actor-Network Theory (ANT) help us understand the role
of technology in shaping social behavior? How does it challenge the idea that
technology is simply a passive tool?
5. How do technological objects serve to reinforce or challenge power structures
within society? Are there instances where a technological object has disrupted or
transformed social arrangements?

Conclusion

Bruno Latour’s essay, "Technology is Society Made Durable," offers a powerful framework
for understanding technological objects as active participants in shaping social life. Instead
of merely being tools or instruments, technologies are embedded in and constitutive of the
social, cultural, and political networks they inhabit. Latour’s theory emphasizes
the durability and stability that technologies provide to social systems, as well as
the complex relationships between humans and objects. By examining technological
objects through this lens, we gain a deeper appreciation of how material culture both reflects
and influences the structures that govern human society.

Nostalgic Objects and Countermemory: "Memory and Counter-memory" by

James E. Young (2024)

In his essay, "Memory and Counter-memory," James E. Young delves into the complex
relationship between memory, nostalgia, and objects—particularly focusing on how objects
can act as conduits for collective memory, cultural identity, and counter-memory. Young uses
the concept of counter-memory to explain how some objects, places, or symbols can
challenge the dominant or mainstream historical narratives, preserving alternate or
marginalized histories. This concept is important when discussing nostalgic objects, which
are imbued with the power to evoke memories and emotions connected to past experiences,
whether personal or collective.

The essay explores how certain objects become symbols of nostalgia, evoking emotional
connections to past times or lost worlds. However, Young also addresses how these objects
can serve as tools for counter-memory, offering alternative viewpoints that can disrupt and
resist the dominant historical narratives that often marginalize or omit certain groups,
perspectives, or events.

Key Insights from James E. Young’s Work

1. The Role of Objects in Memory and Nostalgia Young starts by discussing how
objects are deeply intertwined with memory, particularly in how they trigger
nostalgia. Nostalgic objects are those that remind us of past experiences, often
invoking a sense of longing or loss for a time that can no longer be recaptured. These
objects are tied to personal or collective memories that reflect particular social or
cultural moments in history.
o Example: Objects like old family photographs, letters, vintage toys, or
even furniture passed down through generations can serve as triggers for
memory. For individuals, these objects evoke personal nostalgia—memories
of childhood, family, or past experiences. For societies or groups, certain
objects can represent entire eras or historical moments, becoming symbols of
national or cultural identity.
2. Nostalgia as a Complex Emotional Experience Nostalgia is often more than just a
longing for the past; it can also be a complicated emotional experience that
combines both idealization and bitterness. Nostalgic objects can carry with them
both positive and negative emotions—a sense of yearning for a time perceived as
better, but also a recognition of the loss and change that comes with the passage of
time.
o Example: A war memorial or historical artifact might elicit both pride in
one’s heritage and sorrow for the lives lost in the conflict. These objects carry
the weight of personal or collective histories, and their meanings can evolve as
societal contexts shift.

3. Counter-memory: Challenging Dominant Historical Narratives Young introduces

the concept of counter-memory, referring to the use of objects, places, and symbols
to resist or challenge dominant historical narratives. Counter-memory seeks to
uncover alternative histories or viewpoints that are often suppressed or ignored by
mainstream discourse. Objects can become powerful tools in this resistance, as they
provide material evidence of histories that challenge the official story.
o Example: Statues, monuments, or even everyday objects associated with
marginalized or oppressed groups can serve as tools of counter-memory. For
example, a memorial to enslaved peoples or a counter-monument to
colonial history can challenge mainstream narratives about national identity,
heritage, and progress. These objects preserve alternative memories that
contradict the dominant, often sanitized, version of the past.

4. Memory and Identity Memory is intrinsically tied to the construction of

both personal and collective identity. Young argues that objects act as materialized
memories that help shape individual identities and collective consciousness. The way
societies remember or forget certain histories—through objects, rituals, and symbols
—shapes their collective identity and understanding of the world.
o Example: The Berlin Wall serves as both a symbol of division and
a memorial to the end of the Cold War. It acts as a counter-memory to the
notion of a unified Europe, reminding us of the historical
struggles and cultural divides that existed during the era of the Iron Curtain.

5. Nostalgic Objects as Sites of Reflection and Resistance Young suggests that

nostalgic objects do more than evoke personal memories—they can also serve as sites
of reflection and resistance. These objects may be reclaimed, repurposed, or
reinterpreted as acts of resistance or reclaiming histories that have been erased or
overlooked.
o Example: In the post-colonial context, objects such as traditional
garments, artifacts, or even oral traditions might be reintroduced or
preserved as a form of resistance to colonial erasure, asserting the importance
of indigenous cultures and histories that were previously subjugated.

6. Memory as a Site of Conflict The notion of counter-memory also speaks to the fact
that memory is often contested. Different social groups may have competing
memories of the same event, which can result in conflicts over how history should be
remembered and represented. The objects associated with these memories become
powerful symbols in these struggles.
 o Example: The debate over monuments to Confederate leaders in the United
States illustrates how objects tied to historical memory can be sites of conflict.
For some, these monuments are symbols of heritage and history, while for
others, they represent a painful past tied to slavery and oppression.

Key Takeaways for the Course Manual

1. Objects as Catalysts for Nostalgia: Objects that evoke a sense of nostalgia are
deeply connected to memory, offering a material link to the past. These objects can
create a sense of continuity and identity by allowing individuals or groups to reflect
on lost times, experiences, and cultures.
2. Counter-memory through Objects: Counter-memory is the idea that certain
objects can resist mainstream historical narratives by preserving marginalized
histories. Objects become key to remembering alternative histories and can serve as
acts of resistance to dominant cultural and political forces.
3. Nostalgia as Emotional Complexity: Nostalgia is not just a sentimental longing for
the past—it involves complex emotions that can be both joyful and bittersweet.
Nostalgic objects help articulate the relationship between memory, loss, and longing.
4. Objects as Symbols of Collective and Personal Identity: Objects are instrumental
in the creation and maintenance of collective identity. They function as symbols of
historical experiences and values, reinforcing or challenging cultural and social
norms.
5. Objects in Conflict: The meaning of nostalgic or commemorative objects is often
contested. What one group views as a symbol of pride or heritage may be seen by
others as a painful reminder of oppression or injustice. These objects become sites of
social and cultural conflict over how history should be remembered and interpreted.

Discussion Questions

1. How do nostalgic objects help shape personal and collective identities? Can you
think of an object that has strong nostalgic value for you or your community?
2. How do objects act as counter-memory? Can you think of any objects, monuments,
or symbols that challenge the dominant historical narratives in your culture or
society?
3. How can nostalgic objects evoke complex emotions of both longing and loss? Can
you think of an object that brings up these kinds of feelings for you?
4. In what ways can objects become sites of conflict in terms of memory and identity?
How do competing interpretations of the same object reflect the differing values and
experiences of various social groups?
5. How does the preservation of alternative histories through objects challenge
the mainstream understanding of the past? Can you think of an object that
represents an alternative historical narrative?

Conclusion

James E. Young’s essay "Memory and Counter-memory" offers a profound exploration of

how objects can be linked to memory and nostalgia, serving as both personal and collective
anchors to the past. These nostalgic objects help us remember and reflect on lost times, but
they also carry the potential to resist dominant historical narratives and offer alternative
perspectives. In this way, objects are not merely passive relics of history but active agents in
the construction of memory and identity, and can serve as symbols of resistance and social
conflict. Understanding the role of nostalgic and counter-memory objects helps illuminate the
ways in which material culture both reflects and shapes our understanding of the past,
present, and future.

Week 2-

Arjun Appadurai’s The Social Life of Things explores how commodities and objects acquire
significance in society, emphasizing the idea that objects are not just passive items, but active
participants in social life. The core of the book is the concept of the “social life” of
commodities, which means understanding how objects move through different phases—from
production, circulation, and exchange to consumption—and how they accrue value at each
stage. Below are some examples and case studies to explain the key concepts in Appadurai’s
work:

1. Commodities in Motion (The Lifecycle of Things)

Appadurai discusses how objects are not static but rather have social lives that unfold in
different contexts. For example, consider jewelry: a piece of jewelry might be produced in a
factory, then sold in a store, given as a gift, inherited, or even passed down as a symbol of
status. At each of these stages, the object gains new meanings or significance depending on
the social relations and context it enters into.

 Example: In some cultures, a wedding ring might hold not just personal value but
social or symbolic meaning (e.g., fidelity, status, tradition). As it moves through
different ownerships—first purchased, then exchanged during a wedding, later
inherited—it accumulates various layers of meaning.

2. The Role of Value in Commodities

Appadurai argues that commodities acquire value through social practices. This means value
isn’t inherent in the object itself but is given by the social context, and this value can be
altered based on time, place, and social relationships.

 Example: Consider a vintage car. To the average person, it’s just an old vehicle. But
to a collector or enthusiast, it may be a rare artifact that holds monetary value. The
value of the car is thus a product of its cultural significance in a specific context (e.g.,
the collector market, the social prestige it confers).
 Case Study: West African Kola Nuts: In West Africa, kola nuts are an important
commodity for social exchange. Not only are they used in rituals and ceremonies
(such as marriages and funerals), but they also serve as a form of currency in some
contexts. The significance of the kola nut changes depending on the social situation
and the relationships between the people involved.
3. Objects and Social Relationships

Appadurai emphasizes that objects are often markers of social status, power, and identity.
The way objects are used, displayed, or consumed tells us something about the social
relationships in which they are embedded.

 Example: Think about luxury handbags (e.g., Louis Vuitton, Chanel). These
handbags might be viewed as simply fashion accessories in one context, but in
another, they signify wealth, social status, and taste. The handbag becomes a means of
projecting identity and social distinction. Owning such an object may lead to shifts in
how an individual is perceived within their social circle.
 Case Study: The Indian sari: A sari, especially an expensive one made of silk, is a
symbol of status and cultural identity in India. It’s not just clothing but a way to
express cultural pride, social rank, and personal taste. Its value and significance
change depending on the occasion (e.g., a wedding vs. a regular day) and who is
wearing it.

4. Commodities as Tools of Cultural Practice

Appadurai argues that objects often become tools through which cultural practices are carried
out, and as such, they are not neutral; they shape human behavior and relations.

 Example: Consider a smartphone. It’s a commodity that has transformed

communication, information exchange, and even the nature of social interactions. Not
just a phone anymore, it’s a tool of cultural practice—it’s how we work, socialize,
organize events, and even define our personal identities (through social media, for
instance). The value of a smartphone is constantly shaped by the way society uses and
interacts with it.
 Case Study: Food as a Commodity in the Globalized Market: Take the example
of coffee. In its journey from an agricultural product grown in developing countries to
a global commodity consumed in cafes in the developed world, coffee goes through
multiple transformations. It is not just a drink but a cultural marker—it signifies an
engagement with global capitalism, a lifestyle choice (e.g., coffee culture), and
sometimes even a political statement (fair trade coffee). The object itself, coffee, has
different meanings in different social contexts, giving it a significant role in shaping
both personal and collective identities.

5. The Influence of Globalization on the Social Life of Objects

Appadurai highlights how objects travel through global systems of exchange, which
influences how they acquire and change their significance. Globalization, in particular, plays
a central role in the circulation of commodities across national boundaries.

 Example: Nike Shoes: Nike shoes are a commodity that circulates globally, but their
meaning shifts depending on location. In one country, they may be symbols of luxury
or sports culture, while in another, they may symbolize status, style, or even social
protest (e.g., protests against labor conditions in Nike factories).
 Case Study: The rise of second-hand clothing markets in African countries like
Ghana is a fascinating example of how the social life of objects changes across
 borders. Used clothes, often sent from Western countries, are recontextualized and
repurposed in African markets. The clothes take on new cultural significance—what
was once discarded or outdated in the West becomes valuable again in these new
contexts, creating a new social dynamic.

Conclusion: The Social Life of Things

Appadurai’s concept of the social life of things suggests that objects are not static but have
dynamic social roles that change across time, space, and cultures. The value and significance
of commodities are shaped by their movements through society, how they are exchanged, and
the social meanings they acquire along the way.

 Example: A bottle of wine in France is not just an object to be consumed—it is part

of a broader cultural practice of wine-tasting, of understanding the terroir, and of
identity. The same bottle of wine, however, might be seen merely as a drink in
another context, highlighting how objects take on different social lives depending on
where they are and who is using them.

These concepts help us understand how deeply connected objects are to the social, political,
and economic fabric of society. Commodities are never just things; they are tied to meanings,
relationships, and histories that constantly evolve.

Week 2 – part 2

In The Social Life of Things, Arjun Appadurai discusses the idea of commodities not as static,
neutral objects but as part of a dynamic and evolving process of cultural meaning-making and
exchange. The reading you're referring to delves into the cultural biography of things,
which is a concept that highlights the ways in which objects acquire different roles,
meanings, and values through their various movements across time, space, and social
relations.

Let's break down the key concepts from this reading and explore their relevance in society, as
well as the evolution of roles and meanings of objects, drawing parallels to significant
historical and social processes like the objectification of humans (e.g., slavery) and gift
exchange.

1. The Cultural Biography of Things

Appadurai uses the term "cultural biography" to describe the lifecycle of commodities—their
passage from production, through various exchanges and uses, to eventual obsolescence,
destruction, or reinterpretation. This process highlights how commodities are constantly
changing in meaning and value depending on the social contexts they enter. Rather than
focusing on a commodity’s inherent properties, Appadurai argues that we should pay
attention to how objects acquire meaning through their social life.

Relevance of Objects in Society

Objects in society carry not just economic or functional value but also social, cultural,
and political significance. Their meaning is not fixed; it evolves depending on how and by
whom they are used. This process of acquiring and shifting meaning is what makes objects so
deeply embedded in the social fabric.

 Example: Think of an old family photograph. Initially, it may have been just a
simple portrait, but as it is passed down through generations, it becomes imbued with
emotional, familial, and historical significance. The photograph evolves in meaning as
it moves from one person to another, telling stories and anchoring identities.
 Example: Slavery itself is an example of the objectification of humans—where
humans are treated as commodities, bought, sold, and exchanged in ways that strip
them of their individual humanity. The shift in the perception of enslaved individuals
from human beings to property is a transformation of their meaning and social
value, reflecting the broader societal forces that commodify them.

2. The Evolution of the Roles and Meanings of Objects

Appadurai discusses how objects undergo changes in their roles and meanings as they move
across different social settings, time periods, or cultures. These shifts in meaning are
influenced by various factors, including economic systems, political structures, and cultural
practices. Over time, the same object can carry completely different meanings depending on
the context.

Example: Slavery and Commodification

The history of slavery offers a stark example of the objectification of humans. In the
transatlantic slave trade, humans were commodified—they were treated as property to be
bought and sold, their value calculated in economic terms (as labor). The evolution of the
roles and meanings of these human beings was deeply shaped by systems of power and
oppression. The meaning of enslaved people was entirely reshaped by a capitalist
economy that needed to commodify them to maximize profit.

 Example: During the slave trade, an enslaved person’s humanity was reduced to
their market value—their physical labor potential became their only recognized
worth. This is an extreme example of how a human being can be reduced to an
object within certain cultural and economic systems. This role of human
commodification profoundly affected the way enslaved individuals were treated,
seen, and understood in society.

The abolition of slavery, as well as the subsequent civil rights movements, brought a shift in
the meanings assigned to formerly enslaved people, reconnecting them to human dignity,
freedom, and rights. The objectification of humans was challenged, and over time, their value
evolved from being seen as property to being recognized as equal members of society.

Example: Gifts and Commodities

The process of gift exchange is another way in which the meaning of objects can shift. In
many societies, gifts are not just economic transactions; they serve as vehicles for social
relationships and cultural practices. The meaning of a gift can change dramatically based
on the context and the relationship between the giver and the receiver.
  Example: A wedding ring—when it is exchanged as a gift between partners, its
meaning is not merely that of a precious object but represents love, commitment, and
a shared future. The act of giving a ring has an emotional, cultural, and social
meaning that transcends its material value.
 Example: In contrast, when the same ring is bought in a store, it is simply a
commodity. In this setting, its value is more monetary and materialistic, whereas in
the context of a gift exchange, its value becomes far more symbolic and relational.

Appadurai highlights the idea that commodities (like the wedding ring) move through
different forms of exchange. When something is given as a gift, it enters a system of social
relations, where the moral value of the object (i.e., its meaning beyond mere material worth)
is brought to the forefront. Conversely, when the same object is bought and sold in a market,
it becomes part of the commodification process.

3. The Role of Commoditization as a Process

Commoditization refers to the process through which an item or service becomes an object of
trade or commerce—transformed into something that can be bought and sold on a market.
Appadurai sees commoditization not as an event but as an ongoing process. The
commodification of goods and services is not just about price tags; it is about the gradual
change in how society values and interacts with objects.

 Example: Artworks—an artwork like a painting may begin life as a personal

expression of the artist’s vision, a reflection of their emotional or political beliefs.
However, as the artwork enters the market and becomes commodified, it changes in
significance. It may be viewed not just as a piece of personal expression, but as
a luxury item, a status symbol, or even an investment asset.
 Example: Coffee beans—coffee was once a local commodity traded for personal or
communal consumption. Today, coffee beans are a global commodity. Their value is
determined not only by the quality of the beans but by global markets, political
relationships, and even branding (e.g., Starbucks). In some regions, coffee is a
commodity that fuels entire economies, while in others, it may be a symbol of
consumerism.

Appadurai’s perspective suggests that these objects are constantly redefined as they move
between markets, users, and cultures. The process of commodification involves the
transformation of an object from being a part of everyday life to being something valued in
monetary terms or seen as a cultural symbol.

4. Conclusion: Parallels and Broader Implications

Appadurai’s work invites us to think critically about how objects are not just material items
but are deeply embedded in social processes that shape their meaning and value.
The objectification of humans, such as in the context of slavery, and the practice of gift
exchange, demonstrate how objects can serve as markers of social power, relationships,
and value systems.

The evolution of an object’s meaning through time—whether it’s the transformation of an

enslaved person into a commodity or the transition of a wedding ring from a gift to a
commodity—reflects broader cultural, social, and political changes. Objects do not just
carry meaning; they participate in the formation of social hierarchies, affect relationships, and
shape personal and collective identities.

Appadurai’s idea of the cultural biography of things allows us to better understand

the fluidity of value and meaningand challenges us to think about how we, as consumers
and members of society, shape and are shaped by the objects we encounter.