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• Cover Page
• Half Title page
• Series page
• Title Page
• Copyright Page
• Contents
• List of Figures
• Notes on Contributors
• Preface and Acknowledgements
• Chapter 1 Introduction
• Prologue
• Follow the Materials
• Learn the Movements
• Draw the Lines
• Epilogue
• References
• Chapter 2 Materials in Making
• How Does Form Relate to Substance? Does the Idea Come First in Making?
• A Note on Vision
• The Material and the Object
• Conclusion
• Acknowledgements
• References
• Chapter 3 Practice Drawing Writing Object
• Introduction
• Excavation and the Trowel
• Plan and Section
• Drawing Filling
• Lines and Time
• Archivisation and Redrawing
• Acknowledgements
• References
• Chapter 4 Networks of Objects, Meshworks of Things
• Introduction
• Chaîne Opératoire: Descriptive or Prescriptive?
• Archaeological Case Studies
• Pottery Chaînes Opératoires
• Conclusions
• Acknowledgements
• References
• Chapter 5 Thinking through Movement: Practising Martial Arts and Writing Ethnography
• Introduction
• From Skill to Ethnography
• Spaces of Tactile Vision
• The Body as Note-taker and as Field-note
• Between Choreography and Performance
• References
• Chapter 6 Learning the ‘Banana-Tree’: Self Modification through Movement
• Introduction
• Using the Head
• Discovering the Bananeira
• Bodily conditioning
• Shaping reflexes
• Expanding capacity
• The Arduousness of ‘Modern Life’
• Conclusion: Learning the Movement
• Acknowledgements
• References
• Chapter 7 Performing Precision and the Limits of Observation
• Part I: Performing Precision
• Preliminaries
• Precision in performance
• Seeking sensationally
• Inside/outside dimensions
• Choreographic procedures
• Precision of meaning
• Concepts of Personhood
• Part II: Precision of Interpretation
• Earthboy and spatial orientation
• Part III: Walking as Action Sign
• Concluding Remarks
• References
• Chapter 8 The Imaginative Consciousness of Movement: Linear Quality, Kinaesthesia, Language and Life
• Linear Quality
• Kinaesthesia
• Language
• Life
• References
• Chapter 9 Beyond A to B
• I
• II
• III
• Acknowledgements
• References
• Chapter 10 Drawing with Our Feet (and Trampling the Maps): Walking with Video as a Graphic Anthropology
• The Problem of ‘Visual’ versus ‘Written’ Anthropology
• Walking, Drawing and Inscription
• Principles for Understanding Walking with Video
• Walking with video involves making lines
• Walking with video as playing forward – not playing back
• Making lines and moving forward as description
• Walking in the Garden
• The ‘natural line’
• Redrawing the path
• Drawing with his feet
• Walking, Drawing, Writing and Uncertainty in Anthropological Knowing
• Acknowledgements
• References
• Chapter 11 ‘Both Created and Discovered’: The Case for Reverie and Play in a Redrawn Anthropology
• Introduction
• Heightened Awareness and Jean Rouch’s Ciné-transe
• Winnicott’s ‘Transitional Object’
• Reverie and Play in Marion Milner’s Painting and Drawing
• Foregrounding Play in the Pol Project
• Conclusion
• Acknowledgements
• References
• Chapter 12 Expanded Visions: Rethinking Anthropological Research and Representation through Experimental Film
• Introduction
• Experimental Film: The Fundamental Questions
• Experienced Time and Optical Effects
• The Single Camera and the Multiple Observer6
• Experimental Film and Anthropology: Critical Challenges and Differences
• Conclusion
• Acknowledgements
• References
• Index