Mic check! Mic check! Lacking amplification in Zuccotti Park, Occupy Wall Street protestors addressed one another by repeating and echoing speeches throughout the crowd. In Occupy, W. J. T. Mitchell, Bernard E. Harcourt, and Michael Taussig take the protestors’ lead and perform their own resonant call-and-response, playing off of each other in three essays that engage the extraordinary Occupy movement that has swept across the world, examining everything from self-immolations in the Middle East to the G8 crackdown in Chicago to the many protest signs still visible worldwide. “You break through the screen like Alice in Wonderland,” Taussig writes in the opening essay, “and now you can’t leave or do without it.” Following Taussig’s artful blend of participatory ethnography and poetic meditation on Zuccotti Park, political and legal scholar Harcourt examines the crucial difference between civil and political disobedience. He shows how by effecting the latter—by rejecting the very discourse and strategy of politics—Occupy Wall Street protestors enacted a radical new form of protest. Finally, media critic and theorist Mitchell surveys the global circulation of Occupy images across mass and social media and looks at contemporary works by artists such as Antony Gormley and how they engage the body politic, ultimately examining the use of empty space itself as a revolutionary monument. Occupy stands not as a primer on or an authoritative account of 2011’s revolutions, but as a snapshot, a second draft of history, beyond journalism and the polemics of the moment—an occupation itself.

Occupy: Three Inquiries in Disobedience (TRIOS)

Harcourt, Bernard E.

TAUSSIG, Michael

Mitchell, Professor W. J. T.

Arts & Photography

University of Chicago Press

Mic check! Mic check! Lacking amplification in Zuccotti Park, Occupy Wall Street protestors addressed one another by repeating and echoing speeches throughout the crowd. In Occupy, W. J. T. Mitchell, Bernard E. Harcourt, and Michael Taussig take the protestors’ lead and perform their own resonant call-and-response, playing off of each other in three essays that engage the extraordinary Occupy movement that has swept across the world, examining everything from self-immolations in the Middle East to the G8 crackdown in Chicago to the many protest signs still visible worldwide. “You break through the screen like Alice in Wonderland,” Taussig writes in the opening essay, “and now you can’t leave or do without it.” Following Taussig’s artful blend of participatory ethnography and poetic meditation on Zuccotti Park, political and legal scholar Harcourt examines the crucial difference between civil and political disobedience. He shows how by effecting the latter—by rejecting the very discourse and strategy of politics—Occupy Wall Street protestors enacted a radical new form of protest. Finally, media critic and theorist Mitchell surveys the global circulation of Occupy images across mass and social media and looks at contemporary works by artists such as Antony Gormley and how they engage the body politic, ultimately examining the use of empty space itself as a revolutionary monument. Occupy stands not as a primer on or an authoritative account of 2011’s revolutions, but as a snapshot, a second draft of history, beyond journalism and the polemics of the moment—an occupation itself.

The Corn Wolf

Collecting a decade of work from iconic anthropologist and writer Michael Taussig, The Corn Wolf pinpoints a moment of intellectual development for the master stylist, exemplifying the “nervous system” approach to writing and truth that has characterized his trajectory. Pressured by the permanent state of emergency that imbues our times, this approach marries storytelling with theory, thickening spiraling analysis with ethnography and putting the study of so-called primitive societies back on the anthropological agenda as a way of better understanding the sacred in everyday life. The leading figure of these projects is the corn wolf, whom Wittgenstein used in his fierce polemic on Frazer’s Golden Bough. For just as the corn wolf slips through the magic of language in fields of danger and disaster, so we are emboldened to take on the widespread culture of academic—or what he deems “agribusiness”—writing, which strips ethnography from its capacity to surprise and connect with other worlds, whether peasant farmers in Colombia, Palestinians in Israel, protestors in Zuccotti Park, or eccentric yet fundamental aspects of our condition such as animism, humming, or the acceleration of time. A glance at the chapter titles—such as “The Stories Things Tell” or “Iconoclasm Dictionary”—along with his zany drawings, testifies to the resonant sensibility of these works, which lope like the corn wolf through the boundaries of writing and understanding.

History

Collecting a decade of work from iconic anthropologist and writer Michael Taussig, The Corn Wolf pinpoints a moment of intellectual development for the master stylist, exemplifying the “nervous system” approach to writing and truth that has characterized his trajectory. Pressured by the permanent state of emergency that imbues our times, this approach marries storytelling with theory, thickening spiraling analysis with ethnography and putting the study of so-called primitive societies back on the anthropological agenda as a way of better understanding the sacred in everyday life. The leading figure of these projects is the corn wolf, whom Wittgenstein used in his fierce polemic on Frazer’s Golden Bough. For just as the corn wolf slips through the magic of language in fields of danger and disaster, so we are emboldened to take on the widespread culture of academic—or what he deems “agribusiness”—writing, which strips ethnography from its capacity to surprise and connect with other worlds, whether peasant farmers in Colombia, Palestinians in Israel, protestors in Zuccotti Park, or eccentric yet fundamental aspects of our condition such as animism, humming, or the acceleration of time. A glance at the chapter titles—such as “The Stories Things Tell” or “Iconoclasm Dictionary”—along with his zany drawings, testifies to the resonant sensibility of these works, which lope like the corn wolf through the boundaries of writing and understanding.

Palma Africana

“It is the contemporary elixir from which all manner of being emerges, the metamorphic sublime, an alchemist’s dream.” So begins Palma Africana, the latest attempt by anthropologist Michael Taussig to make sense of the contemporary moment. But to what elixir does he refer?   Palm oil. Saturating everything from potato chips to nail polish, palm oil has made its way into half of the packaged goods in our supermarkets. By 2020, world production will be double what it was in 2000. In Colombia, palm oil plantations are covering over one-time cornucopias of animal, bird, and plant life. Over time, they threaten indigenous livelihoods and give rise to abusive labor conditions and major human rights violations. The list of entwined horrors—climatic, biological, social—is long. But Taussig takes no comfort in our usual labels: “habitat loss,” “human rights abuses,” “climate change.” The shock of these words has passed; nowadays it is all a blur. Hence, Taussig’s keen attention to words and writing throughout this work. He takes cues from precursors’ ruminations: Roland Barthes’s suggestion that trees form an alphabet in which the palm tree is the loveliest; William Burroughs’s retort to critics that for him words are alive like animals and don’t like to be kept in pages—cut them and the words are let free.   Steeped in a lifetime of philosophical and ethnographic exploration, Palma Africana undercuts the banality of the destruction taking place all around us and offers a penetrating vision of the global condition. Richly illustrated and written with experimental verve, this book is Taussig’s Tristes Tropiques for the twenty-first century. 

Business & Money

Economics

“It is the contemporary elixir from which all manner of being emerges, the metamorphic sublime, an alchemist’s dream.” So begins Palma Africana, the latest attempt by anthropologist Michael Taussig to make sense of the contemporary moment. But to what elixir does he refer? Palm oil. Saturating everything from potato chips to nail polish, palm oil has made its way into half of the packaged goods in our supermarkets. By 2020, world production will be double what it was in 2000. In Colombia, palm oil plantations are covering over one-time cornucopias of animal, bird, and plant life. Over time, they threaten indigenous livelihoods and give rise to abusive labor conditions and major human rights violations. The list of entwined horrors—climatic, biological, social—is long. But Taussig takes no comfort in our usual labels: “habitat loss,” “human rights abuses,” “climate change.” The shock of these words has passed; nowadays it is all a blur. Hence, Taussig’s keen attention to words and writing throughout this work. He takes cues from precursors’ ruminations: Roland Barthes’s suggestion that trees form an alphabet in which the palm tree is the loveliest; William Burroughs’s retort to critics that for him words are alive like animals and don’t like to be kept in pages—cut them and the words are let free. Steeped in a lifetime of philosophical and ethnographic exploration, Palma Africana undercuts the banality of the destruction taking place all around us and offers a penetrating vision of the global condition. Richly illustrated and written with experimental verve, this book is Taussig’s Tristes Tropiques for the twenty-first century.

Mastery of Non-Mastery in the Age of Meltdown

For centuries, humans have excelled at mimicking nature in order to exploit it. Now, with the existential threat of global climate change on the horizon, the ever-provocative Michael Taussig asks what function a newly invigorated mimetic faculty might exert along with such change. Mastery of Non-Mastery in the Age of Meltdown is not solely a reflection on our condition but also a theoretical effort to reckon with the impulses that have fed our relentless ambition for dominance over nature. &nbsp; Taussig seeks to move us away from the manipulation of nature and reorient us to different metaphors and sources of inspiration to develop a new ethical stance toward the world. His ultimate goal is to undo his readers' sense of control and engender what he calls "mastery of non-mastery." This unique book developed out of Taussig's work with peasant agriculture and his artistic practice, which brings performance art together with aspects of ritual. Through immersive meditations on Walter Benjamin, D. H. Lawrence, Emerson, Bataille, and Proust, Taussig grapples with the possibility of collapse and with the responsibility we bear for it.

Politics & Social Sciences

Social Sciences

I Swear I Saw This: Drawings in Fieldwork Notebooks, Namely My Own

I Swear I Saw This records visionary anthropologist Michael Taussig’s reflections on the fieldwork notebooks he kept through forty years of travels in Colombia. Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.

Americas

I Swear I Saw This records visionary anthropologist Michael Taussig’s reflections on the fieldwork notebooks he kept through forty years of travels in Colombia. Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.

See the best price to sell, buy, or rent books by TAUSSIG, Michael. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by TAUSSIG, Michael

See the best price to sell, buy, or rent books by TAUSSIG, Michael. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Occupy: Three Inquiries in Disobedience (TRIOS)

Occupy: Three Inquiries in Disobedience (TRIOS)

The Corn Wolf

The Corn Wolf

Palma Africana

Palma Africana

Mastery of Non-Mastery in the Age of Meltdown

Mastery of Non-Mastery in the Age of Meltdown

I Swear I Saw This: Drawings in Fieldwork Notebooks, Namely My Own

I Swear I Saw This: Drawings in Fieldwork Notebooks, Namely My Own