Memory and Material Culture by Andrew Jones PDF

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Example text

Thomas (1996a, 19) puts the point neatly: ‘the body is not a container we live in, it is an aspect of the self we live through’ (original emphasis). To reiterate, the central argument of this chapter is that remembrance is a process made apparent to the experiencing subject by the continual and dynamic encounter between the subject and the material world he or she inhabits rather than an abstract and dispassionate transaction between the external world and the mind. This opens up the possibility of thinking about memory differently.

The ability of the artist is manifested through the artwork; whereas the material properties of the artwork provide the artist with the ability to act. Without producing artworks the artist cannot be truly thought to exist as an agent, as an artist. We will explore this aspect of materiality further in the next chapter. What I particularly want to emphasise at this juncture is the point that artworks index events that happened in the past, the event of their production by an artist. This provides one example of the way in which material culture might be considered to index past actions; objects are physical traces of past action.

Marx employed the concept to describe the relations between people and things in capitalist economics. It occurs in his description of commodities; a commodity becomes a commodity not as a material thing but as an abstract value of exchange. Any given material thing works as a commodity because it has as an equivalence as an abstract exchange value. For Marx, to fetishize the commodity was to fetishize the abstract exchange value. As Stallybrass (1998, 184) points out, for Marx fetishism is not an intellectual or categorical problem, it is the fetishism of commodities that is the problem.

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