Making Time: Temporality, History, and the Cultural Object
Making Time: Temporality, History, and the Cultural Object
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创造时间：时间性、历史和文化对象
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发表时间：
2015
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影响因子：
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通讯作者：
Georgina Born
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文献类型：
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作者：
Georgina Born
对布尔迪厄的工作最持续的批评之一是它在对时间、变化和历史进行理论化方面的贫乏。在这一点上，本文从人类学、社会理论和艺术史(不那么重要)的最新研究成果中，追溯出一系列与文化生产有关的时间性和历史分析的新颖路径。在这些问题上发展新视角的挑战不仅来自对布尔迪厄的批评，还来自整个人文科学对普遍形式的历史主义、情境化和分期的问题性质的更广泛认识。提出了几个相互关联的分歧：需要分析文化生产中时间的多重性；艺术或文化对象--作为非人类行为者--在时间的多个维度而不是一个维度上对时间生产的贡献；以及将这种思维纳入历史理论化的重要性。超越了哲学过程理论，但吸取了反目的论的教训，文章发展了一个唯物主义框架，用于分析那些“多重的、相互作用的和部分开放的时间系统”(康诺利)--包括由文化对象和事件实施的独特的变化的规模、速度和形状--通过它们的复杂相互作用参与我们认为是历史的新兴过程。概念性的课程是一般性的，但它们的主要特征通过音乐--具体地说，是最近对当代数字音乐的研究--来例证。与其说音乐是其他艺术中的佼佼者，不如说它孕育了其他艺术在时间理论方面的洞察力。很明显，音乐为重新理想化时间和历史提供了一个吉祥的地形。
One of the most sustained criticisms of Bourdieu’s work is its poverty with respect to theorizing time, change, and history. In this light, this article traces out a series of novel paths in the analysis of temporality and history in relation to cultural production, informed by recent work in anthropology, social theory, and (less so) art history. The challenge of developing new perspectives on such matters does not arise solely from critiques of Bourdieu, but from wider recognition across the humanities of the problematic nature of prevailing forms of historicism, contextualization, and periodization. Several linked departures are proposed: the need to analyze the multiplicity of time in cultural production; the contributions of the art or cultural object––as a nonhuman actor––to the production of time in not one but several dimensions of temporality; and the importance of integrating such thinking into the theorization of history. Advancing beyond philosophical process theory, yet learning its anti-teleological lessons, the article develops a materialist framework for the analysis of those “multiple, interacting, and partially open temporal systems” (Connolly)––including the distinctive scales, speeds, and shapes of change enacted by cultural objects and events––that through their complex interactions participate in the emergent processes we identify as history. The conceptual lessons are general ones, but their key features are exemplified by music––specifically, by recent research on contemporary digital musics. Rather than music being exceptional with respect to the other arts, it is shown to be pregnant with insights for the other arts in regard to theorizing time. Music, it becomes clear, provides an auspicious terrain for retheorizing time and history.