Monthly Archives: September 2016
In 2013 the Washington Post’s Ken Ringle probed the unsettling experience of visiting Washington’s United States Holocaust Memorial Museum. The museum revolves around traumatic things, images, and narratives that visitors vicariously contemplate across time and in the face of the inexpressible irrationality of hatred. The museum provides some concrete mechanisms like “privacy walls” to avoid some of the most unsettling material and visual dimensions of the museum’s narrative; nevertheless, Ringle argued that the museum perhaps collapsed that distance most effectively when visitors “have to look into the face of someone caught in the Nazi death machine.” The Tower of Faces, for instance, is a massive three-story installation of 1,032 images of the residents of Eishyshok, a community in contemporary Lithuania where the Nazis massacred nearly the entire town in 1941. Ringle argues that the pre-war family photographs are among the museum’s objects, images, and stories that force visitors to confront their “limit” by displaying prosaic humanity while acknowledging how these lives tragically ended.
The everyday things populating the archaeological record secure much of their power from their familiarity—personal trinkets like eyeglasses and jewelry, food, and bodily remains themselves narrate humanizing stories, but those sympathetic and even uplifting human experiences are simultaneously complicated by sober realities. Scholars often champion narratives that aspire to define the concrete realities of human adversity if not despair, often with an ambition to examine the lingering effects of historical trauma. Archaeology in particular has gradually shifted its focus from material description toward “dark” histories of enslavement, racism, warfare, sexism, and violence that perhaps strike some observers as a rather bleak picture of everyday life across time and into the present. Human tragedies and adversities materialized in things often spark emotional responses that archaeologists aim to channel into reflective discussion. This may come as a surprise to observers who fantasize archaeology as a dispassionate empirical description of the distant past that has no substantive connection to contemporary life, and some people inevitably will find history’s trail of horrors profoundly disconcerting if not an ideological distortion of a more-or-less placid human experience. Read the rest of this entry
Few architectural forms seem to secure as much overwrought disdain as the massive homes that are often referred to as “McMansions.” Architectural aesthetes have a rich history of attacking built environments that spark deep-seated aesthetic and social revulsion, and over-sized 21st-century homes have become targets of comparable critique. Critics of massive residential homes often lament departures from stylistic codes, which typically includes tract mansions’ massive scale, asymmetrical forms, lack of proportionality, inferior materials, and departures from established historical or local architectural distinctions. However, such analyses routinely descend into ethnographically shallow social and class commentaries that fail to wrestle with our inchoate aversion for this particular material form. It is indeed hard to fathom the attraction of many oversized residences, and it is unreasonable to simply ignore our emotional revulsion for them; nevertheless, a compelling assessment of McMansions–and reflective urban planning–should sympathetically wrestle with our experiences of these structures.
McMansion Hell is among the legion of observers ridiculing massive “garage Mahals” and “starter mansions.” McMansion Hell is distinguished by its concrete architectural analysis of oversized residences, spending much of its energy dissecting specific material elements of the pejorative McMansion. This is in some ways an archaeological approach to a class of material things, revolving around systematic material description of specific architectural features that unsettle many observers. McMansion Hell does not try to stake a claim to contrived objectivity, instead acknowledging its aversion for massive residences, sarcastically deconstructing a host of aesthetic features, and painting a very distinctive social and material notion of the stylistic if not social deplorability of tract mansions. However, it focuses on the stylistic dimensions of “bad” architecture and does not feature especially clear ethnographic evidence that might interrogate both the appeal of McMansions and the widespread distaste for them. Read the rest of this entry
One of Finland’s best-preserved wooden churches today sits outside Oulu, where the Kiiminki Church was completed in 1760. The modest cruciform frame church in northern Finland was designed by church architect Matti Honka and is noted for its spectacularly well-preserved altar painted by Mikael Toppelius in the 1780s. Like scores of other Finnish community church yards, the Kiiminki church is surrounded by a cemetery that includes the remains of local soldiers who fell during World War II. Often referred to as “heroes’ cemeteries” or “hero graves,” these resting places are staples of the Finnish countryside testifying to the Finns’ concrete World War II losses—and at least implicitly underscoring the nation’s defense against global super powers.
In the midst of the Kiiminki cemetery a stream of visitors moves across the site in a very distinctive motion familiar everywhere in the world with wireless coverage. In small groups shuffling forward, trading counsel, and studying their cell phone screens, Pokémon Go players hunt down virtual creatures in real-world surroundings including Kiiminki’s church and cemetery. The augmented reality mode of Pokémon Go transforms prosaic spaces—neighborhoods, religious spaces, historic sites–into newly engaged landscapes populated by multi-colored creatures, Poké Stops to fortify your avatar’s supplies, and Poké Gyms to train and bond with other players. Read the rest of this entry