Writers at this site have discussed the “Uncanny Valley” before. Put simply, it's that point along the curve from “clearly artificial” to “almost lifelike” at which most people get … well, creeped out.

While the term is new (a Japanese roboticist coined it in 1970), the idea may be as old as myth: Ugly things – things that look very different from us – are repulsive. But so are things that look almost like us – or things that could be us, but aren't.

Isn't that why vampires fascinate us? “I thought she or he was safe, trustworthy, one of us … until I saw no reflection in the mirror …”

No reflection in the mirror = no confirmation of humanity, either theirs or ours. If they don't cast a reflection than they don't reflect us.

So a monster that's human-like is scary for different reasons than an obviously grotesque one. In the dark that face seemed almost human. But when I turned on the light …

Anybody want to insert a Joan Rivers joke here? Go right ahead. Plastic surgery falls into the Uncanny Valley sometimes. We allowed ourselves to adjust as famous people gradually began reconstructing themselves more and more.

Imagine if someone with a heavily reconstructed face – Michael Jackson, let's say – were sent back in time 100 years. It wouldn't be a joke. People would run away in horror.

“Monster: From the root of the Latin monere, to warn – as of something terrible or portentous.” That's what the Encyclopedia Britannica says.

“Monster … not one with the blowing clover or the falling rain.” That's what Ralph Waldo Emerson says.

So let's call Uncanny Valley monstrosity a warning: That thing you thought might be human … isn't.

And what does John Lennon have to do with all of this? Surprisingly, nobody's built any animatronic Beatles yet. I have seen Beatles cover bands in about five different countries, including Japan, Portugal, and India. Moptops, collarless suits, bobbing heads … the whole deal. But, while the late Mr. Lennon has escaped robotic reproduction (which could leave him looking like the overly humanized “actroid” on the right), he lives on in at least two back roads of the Uncanny Valley.

Read more »

by Aditya Dev Sood

From my window, I can see the illuminated window of a shop named Dankotuwa, which promises ‘world-class tableware.’ It seems a dated claim, one that we’ve stopped making in India. I’m in Colombo on work, but this seems a fateful time to be in Sri Lanka. My ride in from the airport was interrupted at three different checkpoints, and at each of them the identity cards of my driver and his companion were checked and my passport was scrutinized. I’d been fantasizing about renting a motorcycle and driving around the countryside on my free Saturday, but there is a tension in the air, and a surfeit of paramilitary presence everywhere. Earlier this week, a Letter from the Grave was published around the world, and the Sinhalese Army is said to be on its way to finally wiping out the Tamil L.T.T.E. It’s looking like Dankotuwa might be all I’ll be doing on Saturday morning.

The next afternoon, after a field visit, I ask my Sri Lankan colleague Harsha about Dankotuwa, and learn of Sri Lanka’s unique contemporary tradition of ceramics, which began with the Japanese joint-venture, Noritake, then Dankotuwa and now a new one, Midaya. Several hybrid cross-cultural Ceylonese-Japanese families now nurture this trade. I should buy a set for my own home, I am advised, for this is the finest tableware in the world, and here it will be available to me at Sri Lankan prices.

Come Saturday, I step inside and look around, and am flooded with waves of memory and dream-like associations.

Read more »

by Norman Costa

Read more »

Don’t give me anything, one sign says. Gifts are unacceptable and will be disposed of, asserts another. Pay no attention! The signs are held by a homeless woman on the subway, a heavily bundled figure who appears as interested in warding off charity as she is the cold, and the severity of her warnings are such that every vowel snarls at the nearest onlooker. She’s a person that's uniquely difficult for me to ignore, partly because I’ve been instructed to do exactly that. The subway car hushes as she takes her position at the doors and glares at those who glance. This is the second time I’ve seen her.

I’m afraid that just by looking I’ve already given her the attention she doesn’t want–or claims not to want–but I hope that she might forgive me, because I recognize my offense, and feel a fair measure of guilt along with my fascination. Still, considering her wishes, I wonder if turning away would even be enough. Not thinking of her whatsoever might be all that would suffice, and because it’s so hard to simply stop a thought mid-track, I decide that the only way to deal with future encounters would be to develop a system, some sort of code, so that the thoughts of her are translated into a careful arrangement of substitutions, knick-knacks on a brain that requires distraction.

—

And so it goes that:

Whenever I slide into wondering if she would accept a coat, I should think instead of how seasons affect the re-telling of certain stories in the news, how cold winters keep narratives about the poor humming along at a pace far different than in spring, or even summer.

Whenever I want to speculate about how she might view her circumstances, I should switch instead to a scene in The Tramp, to that moment when our silent hero’s sandwich is stolen and he resorts to eating a handful of grass, salting it as if it were a genuine meal, and delivering every gesture with the attitude of a fine-dining gentlemen whose routine has never been disturbed.

Read more »

Read more »

///
Past Prime
Jim Culleny

Knowing I once could whip
two 2 by 12 by 12s
to shoulder height
from a ground-level stack
without ripping a ligament;

or haul two sheets of drywall
at a time across a room alone
without reaching for the liniment,

I’m pissed at being humbled
by a mere rock-salt sack
I strain to lift and lug
and spread so as not to slip
and be laid up with a broken hip
///

By Namit Arora

(A slightly edited version of this article appeared in The Philosopher, the journal of the Philosophical Society of England, Volume LXXXXVII No. 1 Spring 2009.)

1.

Is ‘human rights’ a Western idea? Yes and no. Yes because the modern concept of human rights arose in the West during the Enlightenment. No because it is only the latest episode in the long human preoccupation with dignity, justice, compassion, and many localized personal and communitarian rights. But despite the UN General Assembly’s adoption and proclamation of the Universal Declaration of Human Rights in 1948, consensus on what rights all humans deserve remains far from settled.

I believe the question that underlies all debate on human rights is really this: What ideas, beliefs, and values—i.e., what common morality, and institutions for safeguarding it—ought to be promoted universally, and the rest left alone to the currents of diversity? The answer is far from easy and causes much acrimony (recall the ‘Asian values’ debate), with one side calling human rights a tool of Western hegemony aimed at non-Western societies, only to be accused in return of undermining liberty in the name of culture, order or tradition. Both sides make valid points. So what's a liberal to do? Let’s probe a little deeper.

2.

A great many of us today are ‘value pluralists.’ We believe that humans live by many legitimate ethical values and choices: to join the Resistance or care for a sick mother, to adopt a baby or make one, to support socialism or capitalism. Value pluralism entails that often there are no objective grounds for showing one human value superior to another, i.e., that there can be multiple right answers to a single ethical question. Value pluralism also implies that some values may be incommensurate with others, perhaps even making tragic conflict unavoidable—for instance, pro-life vs. pro-choice values, theocratic vs. secular values, warrior vs. monkish values. Often, conflicts of values are manifest even within a person. Whitman wrote, ‘I am large, I contain multitudes.’

Read more »

Read more »

by Todd Bryant Weeks

As we celebrate the inauguration of our first black President, it may be edifying to look back on another time when all Americans were suffering from comparable economic woes, faced like challenges, and held similar hopes. During the spring and summer of 1937, three remarkable African Americans—possibly the greatest of all time in their respective fields—were in the public eye. All three sought wider recognition, an equal share of the market, full citizenship, and their rightful place in history. They achieved more than that.

By 1937, despite an entrenched system of institutionalized racism, the trumpeter and singer Louis Armstrong, the boxer Joe Louis and the pitcher Satchel Paige had all risen to unprecedented levels of success, and were, in essence, fighting for equal rights every day of their lives—simply by showing up for work.

Paige, the incorrigible right-hander from Mobile, Alabama, had established himself as the greatest hurler of his generation, and possibly of all time. Paige was also the game’s supreme showman, and at the end of his career he claimed to have pitched 2,600 games including 300 shutouts and 55 no hitters! (More recent research places his total wins at around 600.) At the start of the 1937 season, in response to the bigoted system that kept Paige and some of the country’s best ballplayers from competing in the majors, he up and quit the Negro Leagues and headed south.

The bloody Dominican dictator Rafael Trujillo had lured the pitcher and other black stars including James “Cool Papa” Bell and Josh Gibson down to the Caribbean, and signed them to lucrative contracts. That spring and summer, Los Dragones, or the “Trujillo All Stars,” as they were called, would barnstorm across the island of Hispaniola, taking on all comers. The team’s name was in keeping with the dictator’s character—he had rechristened Santo Domingo “Ciudad Trujillo” in 1936.

Read more »

Michael Blim

As Washington picked itself up and dusted itself off after the country’s most expensive inaugural ever, I searched myself to understand why my enthusiasm for Obama and his mission had slipped a notch or two. The event had been flawlessly executed, save for the faux pas of Chief Justice Roberts. The media had followed the Obama-administration inspired script that a new American electoral majority for good, many-faced and many-raced, had finally emerged to put several generations of poisoned, partisan, and reactionary politics behind us.

There was also abundant external evidence of the Inauguration’s success. Almost two thirds of those who watched the inaugural ceremonies told pollsters that they felt better, more optimistic, about America afterwards. USA Today and the Gallup Poll found that 46% of those who heard the inaugural address thought it excellent, and another 35% found it good. That’s about an A- as a grade average. Thus far, three million have watched Tuesday’s inaugural address on You Tube.

It didn’t work for me.

Why?

First, I do not think, in contrast to the view of many, that President Obama is a great orator. His voice works no siren sound on me. I don’t find myself getting stirred, or for that matter, find myself comfortably awash in vocal sonorities, the way I do, say, when I listen to recordings of speeches by Franklin Roosevelt or Winston Churchill. Think of the great voices of the Anglo-American theatre like James Earle Jones, John Gielgud, Laurence Olivier, and then think of Obama’s. The comparison is not felicitous. He sings no melody as might Gielgud, opens no pauses in the thought as does Jones, nor does he press himself upon you through simple elocution as did the great Olivier.

Read more »

by Daniel Rourke (a non-believer)

“We know that our patchwork heritage is a strength, not a weakness. We are a nation of Christians and Muslims, Jews and Hindus – and non-believers.”

Barack Hussein Obama, 20th of January, 2009

As a British citizen I watched the inauguration speech of America's 44th President with a warm but distanced interest. But as someone who was brought up in a non-religious family, and has thrived without a belief in a deity, I listened to Barack Obama's words with fascination, concern and hope. Obama's message to his nation and the greater world was one of inclusion. A broad ranging speech during which America's new leader threw his arms wide around those who believe in America, and even wider around those who perhaps do not.

The matter of 'belief' resonated throughout Obama's address: the belief in God, the belief in America and the belief in Obama himself. Yet in regard of that single word a debate among 'non-believers' has sprung up. A debate as to whether Obama's nod to the millions of Americans who call themselves non-theists, atheists or agnostics should have been wrapped up in such a semantically negative phrase.

To pick apart the significance of the phrase 'non-believers' it pays to look at the word 'atheist': a label which is often analysed by theistic and nontheistic communities alike. A common etymological error connects “a”, from the ancient Greek for “without”, and “theism”, denoting a belief in God. Thus, an a-theist is considered to be someone without a belief in God. The true etymology of the word though is better derived from the Greek root “atheos” meaning merely “godless”. Thus athe(os)ism is closer in kind to a “godless belief system”, rather than “without a belief in god/gods”. This analysis, although tiresome, is worth attending to in regards Obama's inclusive rhetoric, because as a minority non-theists are some of the most pilloried in American society.

Read more »

George Orwell challenged us to understand what happens directly in front of our noses, and in the case of the big meltdown, it only makes sense to step out the front door, particularly if one lives in New York’s Upper East Side. After all, if any clues to the spiritual, moral, or cultural problems of the time are present, they ought to be near by. Plus, the dog must be walked.

So out the door and down the stoop and West toward Central Park on 71^st Street and right into the thick of it – The Great Unwinding of assets and leverage.

Third Avenue is busy, as usual on a weekday afternoon, but it is hard to tell if these men and women are special examples of greed and excess. No wears their portfolio like a jacket, and one can’t know exactly who used to work pulling the fulcrums of leverage at a bank downtown, who blew up and who got away with millions. The captains of paperwork all look the same as they always have, dressed almost to the last like English gentlemen out looking for quail, wearing forest green waxed Barbour coats and thick rust-colored corduroy pants, that sort of thing.

On their heads, typically, ball caps with coded symbols of wealth, the triangular yacht club burgees, or the call sign “ACK,” signifying the Nantucket airport, or maybe a few unbuttoned buttons on the cuff of a custom sports coat. But these days they have all begun to look like Bernie Madoff, and one constantly feels one has spotted the great crook, and not really a quail hunter. For a walker out for a stroll, the collapse plays like a soundtrack in your head, coloring everything. The tinted windows on a $300,000 Maybach idling by a fire hydrant now seem to hide shame instead of glamor. After all, at a time like this, it's hard to guess who in their right mind would really want to be seen in the back of a car like that.

Past Third, and the lovely four-story townhouse where the actor Sean Connery and his neighbor have been suing each other for six years. What to say of a culture which could support two armies of lawyers locked in constant battle over renovations? Possibly it is not a healthy one, or, conversely, was formerly of such robust health that there was time and money to be spent on nonsense like that. Two or three more doors down and there’s the little townhouse from Breakfast at Tiffany’s, a love letter to decadence, but you can’t be too grumpy about that.

Read more »

Read more »

by Jennifer Cody Epstein

Last April I received a somewhat stunning email from the Brooklyn Museum. In December, Gloria Steinem—the Gloria Steinem; the original Ms., G.L.O.R.I.A.—would be moderating a panel at Elizabeth Sackler’s Center for Feminist Art. The topic was global sex trafficking. Dr. Sackler had read my novel based on the life of prostitute-turned-post-Impressionist Pan Yuliang. She wanted to include me, in some capacity, in the discussion.

My first reaction was euphoria. For for me, as for millions of women worldwide, Steinem is a hero of uber-rockstar proportions. The idea of speaking with—or even speaking near—her was like being asked to back up the Beatles. Or perhaps a more sober Janice Joplin.

My second reaction was panic: for while it’s true that The Painter from Shanghai spends time in an early 20^th-century Chinese brothel, it’s actually a relatively small portion of the storyline–a fact with which I’ve tried (though almost invariably in vain) to combat endless Memoirs of a Geisha comparisons. I’d read up on the sex trade, of course, in books like Gail Hershatter’s Dangerous Pleasures (about Shanghai prostitutes of the last century) and Alexa Albert’s Brothel (about the women of Nevada’s famed Mustang Ranch). I’d followed with rapt horror Nicholas Kristof’s New York Times columns on the global sex trade and its victims—some younger than my own 5-year-old daughter. I even did a story on this subject myself once, on girls in Chiang Rai, Thailand who were desperately fighting prostitution’s pull.

But I’m the first to admit I’m no sex-trade expert. I’m a novelist. And for all the thrill of the invitation, I didn’t really feel qualified for Gloria’s gig. Happily, Dr. Sackler had already come to this conclusion; in her next email she clarified that I would be speaking and reading, not with the panelists, but in a separate event the following day. But, she added, if I attended Saturday’s panel there was a good chance that I could meet my icon in person. “Yesyesyes!” I wrote back; and tattooed it into my calendar: “Sex Trafficking and the New Abolitionists. December 13^th.

Eight months later there I was, lined up enthusiastically with scores of other Steinem fans, outside the Brooklyn Museum’s auditorium. The doors opened to a small stampede for good seats. I’m sure that, like me, all of these attendees were very interested in learning about sex trafficking. But I’m equally sure that many (if not most) were primarily there to see Gloria. About five minutes into Steinem’s articulate and self-effacing introduction, however, something interesting happened: I found myself paying less attention the woman than to her words. Quite simply, some of the things she and her fellow panelists Tania Ben-aime, of Equality Now and Rachel Lloyd of Girls Educational and Mentoring Services were relating were, to me, utterly astounding:

–FACT: The United Nations Office on Drugs and Crime describes the trafficking of sex as the world’s fastest-growing criminal enterprise, and it now rivals the drug and the arms trades.

-FACT: There are today more slaves worldwide than there were in the 1800s.

-FACT: The average age of entry into the sex trade in the U.S. is between 11 and 12 years old.

–FACT: You can actually buy such a child’s sexual “services” online, and collect them in a house in New Jersey.

Read more »

This text, which will appear on 3QD as a four-part post, was begun as a musing on the theme of series and repetitions in modern and contemporary art inspired by a challenge issued by an art historian colleague of mine. This post includes the intro and a consideration of the first of three artists who dealt with this theme.

Repetition and Remains: Three Centuries of Art’s Multiform and Manifold re-

Introduction: Reintroduction?

In dealing with serial work in the visual arts, it is nearly impossible to know where to start: while some series have a clear linear progression, be it narrative or strictly formal, others do not, and still others seem to vacillate depending upon how one chooses to delimit any given group of works. I would therefore like to take my cue from Ferdinand de Saussure’s arbitrarity principle and, shifting it from the linguistic realm to the visual realm, begin with three (ostensibly unrelated) works I’m particularly intrigued by. My interest in them stems from the questions each work raises—questions that deal with the very nature of seriality and repetition as it appeared and has proliferated in the visual arts from the late nineteenth century up to the present day.

Simply put, a series may be defined as an evolving sequence consisting of a number of parts. Such a structure invariably implies a progression, movement or narrative—although such ideas seem much stronger in representational work, and decline as one moves through the increasing abstraction of the twentieth century and beyond. Even this most simple definition introduces several problematics: first, quantity—are just two works enough to constitute a series? Or, instead of a pair, is a trio the minimum requirement? And just how does one define a single work? What about diptychs, triptychs, and poliptychs? What about modular works? And if, “synecdochally,” a part reflects the whole, just how is such a relationship best dissected for meaning as it applies to both formal and conceptual content (if the two can even be cleaved from one another)?

Read more »

My Doorstep

Welcome to my space. Come in, take off your boots, and make yourself at home: especially if you haven't got one any more. Warm yourself by my fire. It's going to be a long, cold winter. You know it and I know it. It's 7 degrees in the South Bronx this morning, as I write, but for about a quarter of an hour the rising sun comes romping westward down the street into my window, casting everything in gold, shining out the trash-strewn streets and sparse-shelved bodegas and vacant lots and abandoned baby carriages. For a moment.

Wall Street sure laid us one ginormous goose-egg. (I guess now we know what the inverse of that image on the Right looks like.) But tomorrow it'll all crack wide open. Hope you like your Humpty-Dumptys sunny-side up. I know I do. I used to take them scrambled, but now I know on which side my bread is buttered.

You're probably scrambling, hunting down that endangered species known as a job, scientific name JobIS bonUS. I feel your pain. Someone recently wrote that the Internet, as advanced as it seems, is still in the hunter-gatherer stage. Well, I've been a-huntin', and a-gatherin', and I've got laid in these weeds all kinds of Easter eggs for you to enjoy. It's better than a game of Boggle.

Read more »

In November of 1970, a thirteen-year-old girl arrived, accompanied by her mother, at a California family aid office. The girl, who is known publicly by the name “Genie,” walked hunched with her hands raised in front of her like paws. According to Susan Curtiss, author of Genie: a Psycholinguistic Study of a Modern-Day Wild Child, she weighed only 59 pounds and spat incessantly. In addition to her decrepit physical appearance and bizarre social habits, Genie seemed incapable of producing normal language – only ever uttering a few isolated words.

For the ten years leading up to that day in November, Genie had been confined to a single room – strapped, by day, to a “potty chair,” and, by night, to the inside of a sleeping bag. During that time, Genie had very limited human contact, and – of particular interest to the psychologists who studied her for the eight years to follow – almost no exposure to language. This fact – the occasion of Genie’s tragic abuse – gave scientists the opportunity investigate a question that could never have been probed through direct experimentation: does one lose the ability to acquire a first language?

Cases like Genie’s suggest that the answer is yes. While children who were deprived of linguistic stimuli up until age six have gone on to possess normal language, others, like Genie, whose deprivation continued past this point, have not had the same success. Genie did learn the meanings of many words, but she was never able to piece them together into sentences with normal syntax. Instead, she formed statements like “Applesauce buy store” and “I like elephant eat peanut.” Although controversies remain regarding Genie’s case (for instance, allegations of inconsistency in the documentation of Genie’s progress), the apparent linguistic limitations of so-called “feral children” offer strong evidence for a “critical period” after which it is impossible to acquire normal language.

The critical period hypothesis, which refers exclusively to first language acquisition, in turn suggests that children possess certain innate faculties which are crucial for (and, perhaps, specific to) the acquisition of language. This notion, which was brought to mainstream attention by Steven Pinker in his 1994 bestseller, The Language Instinct, is accepted in some form by most psycholinguists. However, a related question – one with even greater practical relevance – remains a point of controversy: does one lose the ability to acquire a second language?

Read more »

Krzysztof Kotarski

“I have a thing with airports…”

“Be more specific, Kris.”

“Ok, let me start again.

“I first began to think about this after I saw the video of Robert Dziekanski getting killed in Vancouver… remember? He was the Polish guy who got Tasered by the police because he was acting all ‘agitated’ after hours and hours of being stuck in the international arrivals area where no one could tell him what to do.

“He was moving to Canada to be with his mother… he got on the plane, landed, but something went wrong. He got stuck in the no-man’s land between luggage and immigration, or immigration and luggage… you know how it goes. He did not speak enough English to get himself sorted out, so he was left to his own devices, he got frustrated, and eventually he got killed.”

“What did they shock him for?”

“Oh, who knows… they probably didn’t know any better… you have to understand, Canadian police… well, let’s just say that the best and brightest probably aren’t the ones patrolling airports at 1:30 in the morning. Someone gave them Tasers and they use them like toys. There were four of them, one of him, and rather than figuring out a way to talk to him or to put him down another way, they got their Tasers out and zapped the poor guy instead. I think they told him to put his hands down on a table, but he put his hands up instead. He didn’t speak a word of English, so… you know…

“I remember watching the news the next morning… the police were giving their own version of the story…. ‘he was agitated… public safety… officers acted as they were trained… will review…’ you know how they talk. I don’t think that this is different in any country—I remember watching the Brits try to explain themselves after they shot that poor Brazilian on the tube. Cops always say the same things after they screw up…

Read more »

On somehow failing to rent
my apartment for Inauguration.

Little boys crave taking sides for battles and banding together into little gangs, yet whenever I begged my father to tell me which side we wanted to win in football games on television (about as far as my notion of being a warrior extended then), he would shrug his shoulders. “I just want to see a good game,” he’d announce.

He served as a black-robed judge for a quarter century, and seemed to think that professional ethics bound him to maintain a strict judicial neutrality even on the Minnesota Vikings versus the Chicago Bears. “No, dad, come on! Who should win?” Who do we want to inspire us? Who should we give ourselves to?

“As long as it’s a good game, that’s all I want.” He’d eat some peanuts.

I hated that he left my brother and I so unmoored about our loyalties. We could have cheered for the local team and found solidarity with everyone else, or picked a division rival and defined ourselves as iconoclasts. We sat out.

Because I never had practice either immersing myself inside a crowd or fighting upstream against a crowd, I never understood crowd dynamics as a child, especially what makes people band together and willingly commit to someone or something. What inspires them? Why do they cheer? Willing commitment became an oasis for me, but like most oases it had qualities of a mirage. After undergoing such torture with my father, I never could judge if people were genuinely passionate about “their” team or just posing.

And this shouldn’t be dismissed as a trivial case. Trivial cases are practice for real life.

Read more »

A quiet, global community of researchers want to change how psychologists think about the mind and culture — or to put it a bit more precisely, they want to call attention to some almost forgotten ones. They publish their research in Culture & Psychology, whose founding editor is Jaan Valsiner. Professor Valsiner was kind enough to furnish us an interview via email. The text has been edited for style.

Jonathan Pfeiffer, 3quarksdaily: How does cultural developmental psychology help us to understand changes in human life, either from moment to moment or over the course of one's lifetime?

Jaan Valsiner: The idea of cultural developmental psychology is best captured in this photo. What do you see in it? Of course it is very ordinary; this is a toy gadget for children (but note the inscriptions we call “graffiti” on the sideboards — an arena for public art?). In it you can see the world of adults, who invent such objects, build them, and take their children to the neighborhood park “to play” and deeply believe they are doing their best for their children, as the latter now can learn the “right ways” of behaving. But, of course, what they create in actuality are opportunities to act in new ways that are more challenging than the “right ways.” You can observe that when children play with this kind of slide and do many other things with many other toys, thus experimenting with the “contrarian movement.” They climb up the part of the structure where they are “supposed” to slide down. Any object of furniture is a culturally designed object that suggests to its users — children or adults alike — some socially preferred courses of action. Yet by that suggestion, these objects call forth counter-action to the opposite, resistance to suggestions, and in one word, creativity. If there were no people — children or adults — who would constructively “disobey” the socially suggested ways of being, then no new technologies or social changes could be possible.

Cultural developmental psychology is a basic science of human development from birth to death, covering the whole life course, that investigates the construction, use, and abandonment of the whole range of cultural tools in the dynamic life course of human beings: language, physical objects of everyday life, symbolic objects in public and private settings, and social roles people assume (mother, father, policeman, tax accountant, beggar, president, criminal, etc.).

Read more »