Pinker's List: Exaggerating Prehistoric War Mortality (original) (raw)

Susan Mullin Vogel: Disturbing Expectations

African Arts, 2021

T his interview was recorded at Susan Vogel's home in New York City on August 5, 2018 and subsequently debated and edited by RM and SV. As this was recorded three years before the publication date, the authors have chosen to leave the content unchanged to reflect the date of the recording rather than to update to reflect subsequent developments. Risham Majeed (RM): Let's talk a little bit about how we started out. I came to Columbia University as a PhD candidate in medieval art, having no ideas about Africa that were not inflected with politics in some regard. What was attractive about your classes, for me, was that you represented Africa in the same language as any other part of the world. The alternative is to insist on its particularity, without giving it the kind of language and context that the rest of art history has. Until that point, I'm sorry to say, my only encounters with Africa were on the news, growing up in London, through Bob Geldoff and his savior complex or in natural history museums. Such exposures were distancing and off-putting. So the approach I heard in your lectures, using the regular language of art history for Africa, was new to me and made Africa immediately familiar. Susan Vogel (SV): I think I've always wanted students and museum visitors to connect with African art on a basic human level-to be aware of the individuals who made and used and lived with these things in their lives, and to recognize that we all share the desires and concerns and needs that they were made to satisfy, despite what looked like enormous differences. And of course to see African art as a normal part of art history. RM: So you created a recognizable context for African art, an easy point of entry for a subject that I came to realize I didn't know at all. Others dealing with African art frequently underpin their arguments with politics; postcolonial struggle, rejection, or self-determination have become integral to a certain line of discourse on contemporaneity in Africa. I think it's been really valuable for my teaching of African art, to have learned it from your perspective, because it allows me to convey a political message without engaging in political language. Such issues are both implied and rejected in the manner in which you present it, rather than having to deal with it explicitly. I think that has informed many of your exhibitions too. Would you agree with that? SV: Of course. Though I'm talking here about historic African art. Even in the early 2000s it still seemed to exist in an "honored but secluded space" as [Robert] Goldwater had put it thirty years before-admired, but somehow outside art history. I always tried to counter that by connecting it to artworks that people already venerated and loved and felt comfortable with-which would validate it too. RM: Your exhibition Africa Explores in 1991 (Fig. 1) was an extreme example of trying to create a recognizable context for some unfamiliar art-the first attempt to deal with contemporary art in an instrumental manner. The ensuing critiques chiefly address the aspects and arguments that are new, not what was already known.

Pagbuo NG Glosaryo NG Mga Salitang Ginagamit NG Mga Balayeñong Mangingisda

2021

Ang layunin ng pananaliksik na ito ay ang makabuo ng isang glosaryong babasahin ng mga salitang ginagamit ng mga Balayeñong mangingisda, matukoy kung saang bahagi ng panalita nabibilang ang mga salitang nakalap, mabigyan ng natatanging kahulugan at maipabalideyt ang glosaryong nabuo. Ang nasabing pananaliksik ay nasa kuwalitatibo at kuwantitatibong disenyo at ginamitan ng convenience sampling sa pagpili ng mga kalahok. Ang bilang ng mga kalahok ay may kabuoang 30, kung saan 25 ay mga mangingisda na nagmula sa mga baybaying barangay ng Balayan, Batangas at limang guro na silang nagsilbing eksperto at nagbalideyt ng nabuong glosaryo upang makita kung naging katanggap-tanggap ang kabuoan ng awtput. Matapos maisagawa ang pangangalap ng datos, nakalikom ng 170 na mga salita ang mga mananaliksik ngunit 91 lamang dito ang pinili at isinama sa glosaryo dahil may mga pagkakataong nauuulit ang ibang mga salitang naibahagi. Sa balidasyon ng pagtingin sa acceptability sa pagpapakahulugan sa mga...