Bad Habitus: Anthropology in the Age of the Multimodal
Bad Habitus: Anthropology in the Age of the Multimodal
复制标题
坏习惯：多模式时代的人类学
作者：
Stephanie Takaragawa;T. Smith;Kate Hennessy;Patricia Alvarez Astacio;Jenny Chio;Coleman Nye;S. Shankar
最近在美国人类学家中重新构建视觉人类学部分的动机是新技术具有民主化的力量，并且通过多模态形式，我们可以解决人类学研究向参与和合作的转变（柯林斯，杜灵顿和吉尔2017）。我们在这篇文章中的目的是参与和扩展塞缪尔柯林斯，马修·杜灵顿和哈扬特·吉尔在2017年的文章中提出的讨论“多模态人类学：一个邀请”，这篇文章被广泛引用，并有助于激发人类学中一系列不优先考虑文本的新项目。虽然多模态人类学的想法可能会挑战占主导地位的范式的作者，专业知识，能力和语言，我们认为，没有什么内在的解放约多模态方法在人类学。因此，随着我们的学科越来越多地倡导多模态服务于人类学，有必要深入参与多模态作为技术科学实践的表达，这是全球资本主义背景下权力等级制度复制的同谋，“资本积累”（柯林斯，杜灵顿和吉尔2017，144），以及其他形式的压迫。我们呼吁的那种至关重要的深入接触并非没有先例。早期的电影制作人如Trinh T. Minh-Ha指出民族志电影在复制西方对其他文化的看法方面是同谋（摩尔，1994）。Trinh敦促我们不要放弃我们的相机，而是要用它们来揭示一种流行的表现体系是如何被自然化的，并通过我们的民族志和电影方法和技术的规范化被视为唯一真实和正确的方式。这样的批评不可避免地要求我们对伦理约定进行修正，即在附近说话，而不是为他人说话（Chen and Trinh 1994; Ruby 1991; Trinh 1992）。最近，Harjant Gill（2017，第63页）提出了一个重要的问题：“我们的电影和我们的学术是如何不断地被它们所传播的各种媒体场景所塑造的，制度权力又是如何以民族志的形式制约着可知的东西的？”(see Gill 2016）。同样，我们试图在当代学科背景和实践中询问多模态。为了发展多模态工作，我们可以使用的新技术种类繁多，而且经常出现，这就要求我们考虑与资本主义和技术科学有关的更广泛的问题，这些问题超越了电影和代表政治的考虑，但仍然包括这些问题。此外，道德问题需要重新界定，因为新的和更容易获得的或看似“民主”的技术不会解决某些道德困境，而是会带来新的道德考虑，需要得到承认和解决。陈和郑在25年前的挑衅在今天引起了共鸣：
T recent reframing of the Visual Anthropology section in American Anthropologist was motivated by a sense that new technologies have democratizing power and that through multimodal forms we can address a shift toward engagement and collaboration in anthropological research (Collins, Durington, and Gill 2017). Our purpose in this essay is to engage and expand the discussion raised by Samuel Collins, Matthew Durington, and Harjant Gill in their 2017 article “Multimodal Anthropology: An Invitation,” which has been widely cited and has helped to inspire a range of new projects in anthropology that do not prioritize text. Although the idea of multimodal anthropology may challenge dominant paradigms of authorship, expertise, capacity, and language, we argue that there is nothing inherently liberatory about multimodal approaches in anthropology. Therefore, as our discipline(s) increasingly advocates for the multimodal in the service of anthropology, there is a need for deep engagement with the multimodal’s position as an expression of technoscientific praxis, which is complicit in the reproduction of power hierarchies in the context of global capitalism, “capital accumulation” (Collins, Durington, and Gill 2017, 144), and other forms of oppression. The kind of critical deep engagement we call for is not without precedent. Early critiques from filmmakers like Trinh T. Minh-Ha pointed to ethnographic film’s complicity in reproducing a Western view of other cultures (Moore 1994). Trinh urged us not to drop our cameras but to use them to reveal how a prevailing system of representation is naturalized and seen as the only truthful and correct way through the normalization of our ethnographic and cinematic methods and techniques. Such critiques inevitably called for a revision of our ethical engagements, a speaking nearby rather than speaking for (Chen and Trinh 1994; Ruby 1991; Trinh 1992). More recently, Harjant Gill (2017, 63) has asked the important question: “How are our films and our scholarship continuously shaped by the various media-scapes within which they circulate, and how does institutional power condition what is knowable in the form of ethnographic accounts?” (see also Gill 2016). In a similar vein, we seek to interrogate the multimodal in our contemporary disciplinary context and praxis. The wide array and regular emergence of new technologies at our disposal to develop multimodal work demands that we consider broader questions relating to capitalism and technoscience that go beyond, but still include, considerations of film and the politics of representation. Moreover, questions of ethics will need to be redefined because new and more accessible or seemingly “democratic” technology will not solve certain ethical dilemmas, but rather will bring forth new ethical considerations to be recognized and addressed. Chen and Trinh’s twenty-five-year-old provocation resonates today in this regard: