MICHAEL S. NASSANEY, UZI BARAM, JAMES C. GARMAN, and MICHAEL F. MILEWSKI
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813034225
- eISBN:
- 9780813039602
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034225.003.0005
- Subject:
- Archaeology, Historical Archaeology
The collective effort in the recovery of a time capsule at the University of Massachusetts galvanized the fascination with time capsule creators and their intentions. The discovery raises a series of ...
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The collective effort in the recovery of a time capsule at the University of Massachusetts galvanized the fascination with time capsule creators and their intentions. The discovery raises a series of interesting questions about the act of encapsulating time. Similarly, the relationship of ritual to artifact becomes especially pertinent in treating time capsules as archaeological assemblages. However, despite the efforts made in their selection, time capsule inventories are arguably of less significance than the motivations for their creation and the rituals surrounding their burial. This chapter addresses these issues by considering two University of Massachusetts time capsules. It begins with a description of the events surrounding the interment of the first capsule in 1877 and its recovery from a hillside overlooking the center of the campus 114 years later.Less
The collective effort in the recovery of a time capsule at the University of Massachusetts galvanized the fascination with time capsule creators and their intentions. The discovery raises a series of interesting questions about the act of encapsulating time. Similarly, the relationship of ritual to artifact becomes especially pertinent in treating time capsules as archaeological assemblages. However, despite the efforts made in their selection, time capsule inventories are arguably of less significance than the motivations for their creation and the rituals surrounding their burial. This chapter addresses these issues by considering two University of Massachusetts time capsules. It begins with a description of the events surrounding the interment of the first capsule in 1877 and its recovery from a hillside overlooking the center of the campus 114 years later.
Gabriella Giannachi
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262035293
- eISBN:
- 9780262335416
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035293.003.0005
- Subject:
- Society and Culture, Media Studies
This Chapter explores how archival methodologies have been used, especially after the 1930s, to generate environmental or process-led artworks and how art has influenced our understanding of what ...
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This Chapter explores how archival methodologies have been used, especially after the 1930s, to generate environmental or process-led artworks and how art has influenced our understanding of what constitutes an archive. The Chapter looks at practices of accumulation, collection and curation, focusing in particular on the cabinet of curiosity to show how, among other cultures of collection and exhibition, it acts as a predecessor to archival art, including a number of time capsules. The Chapter also shows how the cabinet acted as predecessor to how we present, document and archive ourselves through social media today. The apparatus of the archive is presented as the main tool we use to frame, preserve, disseminate, and aestheticize our lives, showing how we increasingly act as citizen archivists. The case studies for this chapter include works by Michel Duchamp; Robert Morris; Andy Warhol; Ant Farm and sosolimited.Less
This Chapter explores how archival methodologies have been used, especially after the 1930s, to generate environmental or process-led artworks and how art has influenced our understanding of what constitutes an archive. The Chapter looks at practices of accumulation, collection and curation, focusing in particular on the cabinet of curiosity to show how, among other cultures of collection and exhibition, it acts as a predecessor to archival art, including a number of time capsules. The Chapter also shows how the cabinet acted as predecessor to how we present, document and archive ourselves through social media today. The apparatus of the archive is presented as the main tool we use to frame, preserve, disseminate, and aestheticize our lives, showing how we increasingly act as citizen archivists. The case studies for this chapter include works by Michel Duchamp; Robert Morris; Andy Warhol; Ant Farm and sosolimited.
Beryl Pong
- Published in print:
- 2020
- Published Online:
- July 2020
- ISBN:
- 9780198840923
- eISBN:
- 9780191876530
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198840923.003.0011
- Subject:
- Literature, 20th-century and Contemporary Literature
The coda briefly recapitulates the central concerns of this book by discussing Second World Wartime in relation to the 1950s and 1960s. Drawing from Ernst Bloch’s conception of time as a river, and ...
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The coda briefly recapitulates the central concerns of this book by discussing Second World Wartime in relation to the 1950s and 1960s. Drawing from Ernst Bloch’s conception of time as a river, and Walter Benjamin’s theory of historical materialism, it discusses why post-war literature and culture looked back to the wartime period through the trope of unexploded bombs, which functioned as mnemonic time capsules. It ends by considering Second World Wartime’s broader relationship to the later chronophobia of the Cold War, when advancements in nuclear technology created a newly fraught relationship between anticipation and retrospection.Less
The coda briefly recapitulates the central concerns of this book by discussing Second World Wartime in relation to the 1950s and 1960s. Drawing from Ernst Bloch’s conception of time as a river, and Walter Benjamin’s theory of historical materialism, it discusses why post-war literature and culture looked back to the wartime period through the trope of unexploded bombs, which functioned as mnemonic time capsules. It ends by considering Second World Wartime’s broader relationship to the later chronophobia of the Cold War, when advancements in nuclear technology created a newly fraught relationship between anticipation and retrospection.
Beryl Pong
- Published in print:
- 2020
- Published Online:
- July 2020
- ISBN:
- 9780198840923
- eISBN:
- 9780191876530
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198840923.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
What happens to the concept of wartime in the 1940s? For the Duration excavates British late modernism’s relationship to war in terms of chronophobia: a joint fear of the past and future. Coloured by ...
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What happens to the concept of wartime in the 1940s? For the Duration excavates British late modernism’s relationship to war in terms of chronophobia: a joint fear of the past and future. Coloured by the trauma of past violence and dread of those to come, the Second World War and its defining military strategy, civilian aerial bombardment, upended straightforward understandings of past, present, and future. Identifying a constellation of temporalities and affects under three tropes—time capsules, time zones, and ruins—the book contends that Second World Wartime is a pivotal moment when wartime surpassed the boundaries of a specific state of emergency, becoming first routine and then open-ended. It scrutinizes a variety of cultural artefacts, from life-writings to short stories, from novels to film and painting, that formally registered the distinctiveness of this wartime through a complex feedback between anticipation and retrospection. While offering a strong foundation for new readers of the mid-century, the book and its overall theoretical focus on chronophobia will be an important intervention for those already working in the field.Less
What happens to the concept of wartime in the 1940s? For the Duration excavates British late modernism’s relationship to war in terms of chronophobia: a joint fear of the past and future. Coloured by the trauma of past violence and dread of those to come, the Second World War and its defining military strategy, civilian aerial bombardment, upended straightforward understandings of past, present, and future. Identifying a constellation of temporalities and affects under three tropes—time capsules, time zones, and ruins—the book contends that Second World Wartime is a pivotal moment when wartime surpassed the boundaries of a specific state of emergency, becoming first routine and then open-ended. It scrutinizes a variety of cultural artefacts, from life-writings to short stories, from novels to film and painting, that formally registered the distinctiveness of this wartime through a complex feedback between anticipation and retrospection. While offering a strong foundation for new readers of the mid-century, the book and its overall theoretical focus on chronophobia will be an important intervention for those already working in the field.
Nick Yablon
- Published in print:
- 2010
- Published Online:
- March 2013
- ISBN:
- 9780226946634
- eISBN:
- 9780226946658
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226946658.001.0001
- Subject:
- History, Cultural History
American ruins have become increasingly prominent, whether in discussions of “urban blight” and home foreclosures, in commemorations of 9/11, or in post-apocalyptic movies. This book argues that the ...
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American ruins have become increasingly prominent, whether in discussions of “urban blight” and home foreclosures, in commemorations of 9/11, or in post-apocalyptic movies. This book argues that the association between American cities and ruins dates back to a much earlier period in the nation's history. Recovering numerous scenes of urban desolation—from failed banks, abandoned towns, and dilapidated tenements to the crumbling skyscrapers and bridges envisioned in science fiction and cartoons—it challenges the myth that ruins were absent or insignificant objects in nineteenth-century America. This book, the first to document an American cult of the ruin, traces its deviations as well as derivations from European conventions. Unlike classical and Gothic ruins, which decayed gracefully over centuries and inspired philosophical meditations about the fate of civilizations, America's ruins were often “untimely,” appearing unpredictably and disappearing before they could accrue an aura of age. As modern ruins of steel and iron, they stimulated critical reflections about contemporary cities, and the unfamiliar kinds of experience they enabled. Unearthing evocative sources everywhere from the archives of amateur photographers to the contents of time capsules, this book exposes crucial debates about the economic, technological, and cultural transformations known as urban modernity. The result is a fascinating cultural history that uncovers fresh perspectives on the American city.Less
American ruins have become increasingly prominent, whether in discussions of “urban blight” and home foreclosures, in commemorations of 9/11, or in post-apocalyptic movies. This book argues that the association between American cities and ruins dates back to a much earlier period in the nation's history. Recovering numerous scenes of urban desolation—from failed banks, abandoned towns, and dilapidated tenements to the crumbling skyscrapers and bridges envisioned in science fiction and cartoons—it challenges the myth that ruins were absent or insignificant objects in nineteenth-century America. This book, the first to document an American cult of the ruin, traces its deviations as well as derivations from European conventions. Unlike classical and Gothic ruins, which decayed gracefully over centuries and inspired philosophical meditations about the fate of civilizations, America's ruins were often “untimely,” appearing unpredictably and disappearing before they could accrue an aura of age. As modern ruins of steel and iron, they stimulated critical reflections about contemporary cities, and the unfamiliar kinds of experience they enabled. Unearthing evocative sources everywhere from the archives of amateur photographers to the contents of time capsules, this book exposes crucial debates about the economic, technological, and cultural transformations known as urban modernity. The result is a fascinating cultural history that uncovers fresh perspectives on the American city.
Timothy Alborn
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780190603519
- eISBN:
- 9780190603540
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190603519.003.0010
- Subject:
- History, British and Irish Modern History, British and Irish Early Modern History
Issues of status and class appeared with new twists when gold took the form of ancient coins and modern medals. The discovery of buried gold often pitted working-class finders, whose rational ...
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Issues of status and class appeared with new twists when gold took the form of ancient coins and modern medals. The discovery of buried gold often pitted working-class finders, whose rational response was to melt their finds down for the bullion content, against educated collectors, who were appalled by such disregard for history and aesthetics. Gold medals, for their part, measured merit among the closed ranks of aristocratic politicians, sportsmen, students, and men of science, often in explicit contrast to cash awards doled out to people of less status or means. These graven images conjured nonmonetary (and, consequently, controversial) value by enabling Britons to discover their forebears, broadcast their erudition, or locate themselves in posterity.Less
Issues of status and class appeared with new twists when gold took the form of ancient coins and modern medals. The discovery of buried gold often pitted working-class finders, whose rational response was to melt their finds down for the bullion content, against educated collectors, who were appalled by such disregard for history and aesthetics. Gold medals, for their part, measured merit among the closed ranks of aristocratic politicians, sportsmen, students, and men of science, often in explicit contrast to cash awards doled out to people of less status or means. These graven images conjured nonmonetary (and, consequently, controversial) value by enabling Britons to discover their forebears, broadcast their erudition, or locate themselves in posterity.
