Earlier this month I sat down with Eduardo Kohn to talk about his amazing book How Forests Think. We started out discussing his intellectual influences and ended up ranging widely over his book, the status of Peirce as a thinker, what ‘politics’ means, and a variety of other topics. Thanks to the hard work of our intern Angela, I’m proud to post a copy of our interview here. I really enjoyed talking to Eduardo, so I hope you enjoy reading it!
Wisconsin and the Amazon
RG: Thanks so much for agreeing to talk. I really enjoyed How Forests Think. When I started it I was a little on the skeptical side, but I ended up thinking it was a mind-blowing book. I thought we could begin by discussing the background for the book and your training. I see the book as mixing biology, science studies (especially Donna Haraway and Bruno Latour), and then some sort of semiotics. It seems like there are a lot of influences there. You got your PhD at Wisconsin, so how did that work out? Can you tell me a little about your background?
EK: The way I got into anthropology was through research, by which I mean fieldwork. And I was always trying to find ways to do more fieldwork. I saw Wisconsin as an extension of this. When I was in college I did some field research in the Ecuadorian Amazon, I had a Fulbright to go back and do research after college, and only then did I go to grad school. Although How Forests Think aims to make a conceptual intervention in anthropology, I think of our field as a special vehicle for engaging intensely with a place in ways that make us over and help us think differently. Continue reading →
Afghanistan’s upcoming elections have received a lot of coverage here in the United States, and all over the world. But did you know that one of the leading candidates, Ashraf Ghani, is an anthropologist?
[This post is part of a two-week series featuring interviews with designers reflecting on anthropology and design.]
SILVIA LINDTNER. DIY maker, hacker, and ethnographic design researcher.
ANTHROPOLOGY + DESIGN.
Many disciplines and fields often work with competing notions of what counts as design, claiming authority over the term, practice, and definition. Think for instance about efforts in critical design (e.g., Dunne & Raby 2007) and the strong oppositions its practitioners often make to product design. Critical design is aimed at engaging people in critical ways with commonly used products. As Jeff and Shaowen Bardzell illuminate, critical design is positioned in opposition to affirmative design—the latter considered as “the common practice, and this practice is amoral and ultimately a dupe for capitalist ideology, while critical designers are described as moral agents who seek to change society for the better” (Bardzell & Bardzell 2013).
It is important to not shy away from the politics of design, or to brash aside such heated debates over definitions, terms, and authentic practices–many of which are legitimizing efforts of new approaches in an overly competitive market (both industry and the academy). The question is how to engage the politics of design in a way that remains open to multiple viewpoints and approaches. At numerous times in my research, I have heard people argue that the process of making and designing itself is apolitical. There is much that refutes such statements–think for instance of questions of labor when we turn towards sites of production that manufacture the technological products we use on a daily basis, or listen to debates of hackerspace members over what counts as hacking versus making versus product design. What is important here is to consider the differences that lie in designing as a mode of inquiry, a leisure practice, or central to one’s profession and livelihood.