Garfinkel EM

EM is not in the business of interpreting
signs. It is not an interpretive enterprise.
Enacted local practices are not texts which
symbolize "meanings" or events. They are in
detail identical with themselves, and not
representative of something else. The wit
nessably recurrent details of ordinary every
day practices constitute their own reality.
They are studied in their unmediated details
and not as signed enterprises.



As I have already indicated this is a book arguing for nature. In other words, there’s a belief that the word can still do some work. (In the text I sometimes use ‘Nature’ with a capital N when reference is made to the idea of a fixed and single world, totally outside systems of understanding and acting. I prefer to use ‘nature’, small n, to denote that natures are made but not in ways that are reducible to human meaning systems.) In the following pages, nature (certainly demoted from the capital Nature) is alive and well and living in inner-city Birmingham, in subtropical Africa, in laboratories, on farms, in the offices of European governments, on allotments, and so on,

Hintchliffe - Geographies of natures



Does this sense of wonder, which Rorty attributes to the poet, not also lie at the root of anthropological sensibility? Like poetry, anthropology is a quest for education in the original sense of the term, far removed from the sense it has subsequently acquired through its assimilation to the institution of the school. Derived from the Latin educere (from ex, “out,” plus ducere, “to lead”), education was a matter of leading novices out into the world rather than, as commonly understood today, of instilling knowledge in to their minds.


INGOLD (2014)



 Studio is a place where realities may be deployées, spread out, made present, re-presented – with a hyphen – by diverse professionals. It doesn’t mean, either, that their specialty does not count, that it would only be a label. All those people are not just participating into a kind of spontaneous brainstorming session. On the contrary, they do come together with their competencies, expertise, knowledge. But in the studio nobody can 'apply' any fixed knowledge. Instead they engage with their bodies, they negotiate with others, depending on what happens, with the possibility of being surprised, and of commuting roles. So, say, in the music studio I am officially the one who writes the lyrics, but as I am sitting there, listening to the work, playing for the public, or reacting to the music, or blaming the sound. The studio allows changing roles, incarnating, embodying the relationships between different kinds of reality, putting them together. All those 'components' come from outside, brought by the professionals, but to become a song they have to be tested, put into question, mixed, and so on. Technically, this also means all this is not a matter of ideas and disputes only: it heavily relies on material intermediaries, as sketches, drafts, more or less elaborated maquettes - anything that can resist, respond, and provoke new ideas. 

(Hennion, Interview. 2016)




1) Arreglo musical como disciplina, transposición del líder
2) Organización
3) Entrenamiento situacional del arreglo
4) Surgimiento del arreglador

Arreglo ->
"Imaginación" de los instrumentos sobre partitura del Piano..