Michael M. J. Fischer

The recent revival of interest in the Muslim world has generated numerous studies of modern Islam, most of them focusing on the Sunni majority. Shi'ism, an often stigmatized minority branch of Islam, has been discussed mainly in connection with Iran. Yet Shi'i movements have been extraordinarily effective in creating political strategies that have

This book traces the contributions of the Lévy-Bruhl family to social and political thought and expertise in 20th-century France, shaping the anticipation of economic and health crises. How French Moderns Think tells the story of the French sociological tradition through four generations of the Lévy-Bruhl family: Lucien, who founded the Institute of Ethnology at the University of Paris; his son Henri, who founded the Institute of Roman Law; his grandson Raymond, who took part in the creation of the National Institute of Statistics and Economic Studies; and his great-grandson Daniel, a vaccine specialist at the Institute of Public Health. This family history casts a new light on the philosophical debates about “primitive mentality” and the “savage mind.” By drawing on the expert knowledge inherent in this family genealogy, the articulation between the logical and the “pre-logical” is not a cognitive question but rather a problem of anticipating unpredictable events. By relating Lévy-Bruhl’s engagements from the Dreyfus Affair to the Minister of Armaments during the First World War, Keck narrates the confrontation of the socialist ideal of justice and truth with the French colonial experience and its transformations in global technologies preparing for pandemics.

The recent revival of interest in the Muslim world has generated numerous studies of modern Islam, most of them focusing on the Sunni majority. Shi'ism, an often stigmatized minority branch of Islam, has been discussed mainly in connection with Iran. Yet Shi'i movements have been extraordinarily effective in creating political strategies that have

In At the Pivot of East and West, Michael M. J. Fischer examines documentary filmmaking and literature from Southeast Asia and Singapore for their para-ethnographic insights into politics, culture, and aesthetics. Women novelists-Lydia Kwa, Laksmi Pamuntjak, Sandi Tan, Jing Jing Lee, and Danielle Lim-renarrate Southeast Asian generational and political worlds as gendered psychodramas, while filmmakers Tan Pin Pin and Daniel Hui use film to probe into what can better be seen beyond textual worlds. Other writers like Daren Goh, Kevin Martens Wong, and Nuraliah Norasid reinvent the detective story for the age of artificial intelligence, use monsters to reimagine the Southeast Asian archipelago, and critique racism and the erasure of ethnic cultural histories. Continuing his project of applying anthropological thinking to the creative arts, Fischer exemplifies how art and fiction trace the ways in which taken-for-granted common sense changes over time, speak to the transnational present, and track signals of the future before they surface in public awareness.

In At the Pivot of East and West, Michael M. J. Fischer examines documentary filmmaking and literature from Southeast Asia and Singapore for their para-ethnographic insights into politics, culture, and aesthetics. Women novelists-Lydia Kwa, Laksmi Pamuntjak, Sandi Tan, Jing Jing Lee, and Danielle Lim-renarrate Southeast Asian generational and political worlds as gendered psychodramas, while filmmakers Tan Pin Pin and Daniel Hui use film to probe into what can better be seen beyond textual worlds. Other writers like Daren Goh, Kevin Martens Wong, and Nuraliah Norasid reinvent the detective story for the age of artificial intelligence, use monsters to reimagine the Southeast Asian archipelago, and critique racism and the erasure of ethnic cultural histories. Continuing his project of applying anthropological thinking to the creative arts, Fischer exemplifies how art and fiction trace the ways in which taken-for-granted common sense changes over time, speak to the transnational present, and track signals of the future before they surface in public awareness.

In Probing Arts and Emergent Forms of Life Michael M. J. Fischer calls for a new anthropology of the arts that attends to the materialities and technologies of the world as it exists today. Fischer examines the work of key Southeast and East Asian artists within the crucibles of unequal access, geopolitics, reverberating past traumas, and emergent socialities. He outlines the work of artist-theorists---including Entang Wiharso, Sally Smart, Charles Lim, Zai Kuning, and Kiran Kumar---who speculate about changing the world in ways that are attuned to its cultivation, repair, and rethinking in the Anthropocene. Their artistic vocabulary not only undoes Western art models and categories; it probes the unfolding future, addresses past trauma, and creates contested, vibrant, and flourishing spaces. Throughout Indonesia, Korea, Singapore, Thailand, and Vietnam---and from Kumar’s experimental dance to Kuning’s rattan and beeswax ghost ships to Lim’s videography of Singapore from the sea---Fischer argues that these artists’ theoretical discourses should be privileged over those of the curators, historians, critics, and other gatekeepers who protect and claim art worlds for themselves.

In Probing Arts and Emergent Forms of Life Michael M. J. Fischer calls for a new anthropology of the arts that attends to the materialities and technologies of the world as it exists today. Fischer examines the work of key Southeast and East Asian artists within the crucibles of unequal access, geopolitics, reverberating past traumas, and emergent socialities. He outlines the work of artist-theorists---including Entang Wiharso, Sally Smart, Charles Lim, Zai Kuning, and Kiran Kumar---who speculate about changing the world in ways that are attuned to its cultivation, repair, and rethinking in the Anthropocene. Their artistic vocabulary not only undoes Western art models and categories; it probes the unfolding future, addresses past trauma, and creates contested, vibrant, and flourishing spaces. Throughout Indonesia, Korea, Singapore, Thailand, and Vietnam---and from Kumar’s experimental dance to Kuning’s rattan and beeswax ghost ships to Lim’s videography of Singapore from the sea---Fischer argues that these artists’ theoretical discourses should be privileged over those of the curators, historians, critics, and other gatekeepers who protect and claim art worlds for themselves.

In Anthropology in the Meantime Michael M. J. Fischer draws on his real world, multi-causal, multi-scale, and multi-locale research to rebuild theory for the twenty-first century. Providing a history and inventory of experimental methods and frameworks in anthropology from the 1920s to the present, Fischer presents anthropology in the meantime as a methodological injunction to do ethnography that examines how the pieces of the world interact, fit together or clash, generate complex unforeseen consequences, reinforce cultural references, and cause social ruptures. Anthropology in the meantime requires patience, constant experimentation, collaboration, the sounding-out of affects and nonverbal communication, and the conducting of ethnographically situated research over longitudinal time. Perhaps above all, anthropology in the meantime is no longer anthropology of and about peoples; it is written with and for the people who are its subjects. Anthropology in the Meantime presents the possibility for creating new narratives and alternative futures.

In Anthropology in the Meantime Michael M. J. Fischer draws on his real world, multi-causal, multi-scale, and multi-locale research to rebuild theory for the twenty-first century. Providing a history and inventory of experimental methods and frameworks in anthropology from the 1920s to the present, Fischer presents anthropology in the meantime as a methodological injunction to do ethnography that examines how the pieces of the world interact, fit together or clash, generate complex unforeseen consequences, reinforce cultural references, and cause social ruptures. Anthropology in the meantime requires patience, constant experimentation, collaboration, the sounding-out of affects and nonverbal communication, and the conducting of ethnographically situated research over longitudinal time. Perhaps above all, anthropology in the meantime is no longer anthropology of and about peoples; it is written with and for the people who are its subjects. Anthropology in the Meantime presents the possibility for creating new narratives and alternative futures.

In this volume, leading scholars in anthropology, religion, and area studies engage global and local perspectives dialectically to develop a historically grounded, ethnographically driven social science. The book's chapters, drawing on research in East and Southeast Asia, Africa, Europe, and the Americas, are also in conversation with the extensive work of editor and contributor Stanley J. Tambiah: They all investigate some aspect of what Tambiah has called "multiple orientations to the world." The implicit focus throughout is on human cultural differences and the historically constituted nature of the political potentialities (both positive and negative) that stem from these. As a whole, then, the volume promotes an approach to scholarship that actively avoids privileging any one conceptual framework or cultural form at the expense of recognizing another—a style of inquiry that the editors call "radical egalitarianism." Together, these scholars encourage a comparative examination of contemporary societies, provide insights into the historical development of social scientific and sociopolitical categories, and raise vital questions about the possibilities for achieving equality and justice in the presence of competing realities in the global world today. Michael M. J. Fischer's Afterword provides a brilliant exegesis of Tambiah's multifaceted oeuvre, outlining the primary themes that inform his scholarship and, by extension, all the chapters in this book.

In this volume, leading scholars in anthropology, religion, and area studies engage global and local perspectives dialectically to develop a historically grounded, ethnographically driven social science. The book's chapters, drawing on research in East and Southeast Asia, Africa, Europe, and the Americas, are also in conversation with the extensive work of editor and contributor Stanley J. Tambiah: They all investigate some aspect of what Tambiah has called "multiple orientations to the world." The implicit focus throughout is on human cultural differences and the historically constituted nature of the political potentialities (both positive and negative) that stem from these. As a whole, then, the volume promotes an approach to scholarship that actively avoids privileging any one conceptual framework or cultural form at the expense of recognizing another—a style of inquiry that the editors call "radical egalitarianism." Together, these scholars encourage a comparative examination of contemporary societies, provide insights into the historical development of social scientific and sociopolitical categories, and raise vital questions about the possibilities for achieving equality and justice in the presence of competing realities in the global world today. Michael M. J. Fischer's Afterword provides a brilliant exegesis of Tambiah's multifaceted oeuvre, outlining the primary themes that inform his scholarship and, by extension, all the chapters in this book.

In Anthropological Futures, Michael M. J. Fischer explores the uses of anthropology as a mode of philosophical inquiry, an evolving academic discipline, and a means for explicating the complex and shifting interweaving of human bonds and social interactions on a global level. Through linked essays, which are both speculative and experimental, Fischer seeks to break new ground for anthropology by illuminating the field’s broad analytical capacity and its attentiveness to emergent cultural systems. Fischer is particularly concerned with cultural anthropology’s interactions with science studies, and throughout the book he investigates how emerging knowledge formations in molecular biology, environmental studies, computer science, and bioengineering are transforming some of anthropology’s key concepts including nature, culture, personhood, and the body. In an essay on culture, he uses the science studies paradigm of “experimental systems” to consider how the social scientific notion of culture has evolved as an analytical tool since the nineteenth century. Charting anthropology’s role in understanding and analyzing the production of knowledge within the sciences since the 1990s, he highlights anthropology’s aptitude for tracing the transnational collaborations and multisited networks that constitute contemporary scientific practice. Fischer investigates changing ideas about cultural inscription on the human body in a world where genetic engineering, robotics, and cybernetics are constantly redefining our understanding of biology. In the final essay, Fischer turns to Kant’s philosophical anthropology to reassess the object of study for contemporary anthropology and to reassert the field’s primacy for answering the largest questions about human beings, societies, culture, and our interactions with the world around us. In Anthropological Futures, Fischer continues to advance what Clifford Geertz, in reviewing Fischer’s earlier book Emergent Forms of Life and the Anthropological Voice, called “a broad new agenda for cultural description and political critique.”

In Anthropological Futures, Michael M. J. Fischer explores the uses of anthropology as a mode of philosophical inquiry, an evolving academic discipline, and a means for explicating the complex and shifting interweaving of human bonds and social interactions on a global level. Through linked essays, which are both speculative and experimental, Fischer seeks to break new ground for anthropology by illuminating the field’s broad analytical capacity and its attentiveness to emergent cultural systems. Fischer is particularly concerned with cultural anthropology’s interactions with science studies, and throughout the book he investigates how emerging knowledge formations in molecular biology, environmental studies, computer science, and bioengineering are transforming some of anthropology’s key concepts including nature, culture, personhood, and the body. In an essay on culture, he uses the science studies paradigm of “experimental systems” to consider how the social scientific notion of culture has evolved as an analytical tool since the nineteenth century. Charting anthropology’s role in understanding and analyzing the production of knowledge within the sciences since the 1990s, he highlights anthropology’s aptitude for tracing the transnational collaborations and multisited networks that constitute contemporary scientific practice. Fischer investigates changing ideas about cultural inscription on the human body in a world where genetic engineering, robotics, and cybernetics are constantly redefining our understanding of biology. In the final essay, Fischer turns to Kant’s philosophical anthropology to reassess the object of study for contemporary anthropology and to reassert the field’s primacy for answering the largest questions about human beings, societies, culture, and our interactions with the world around us. In Anthropological Futures, Fischer continues to advance what Clifford Geertz, in reviewing Fischer’s earlier book Emergent Forms of Life and the Anthropological Voice, called “a broad new agenda for cultural description and political critique.”

Over the past decade Iranian films have received enormous international attention, garnering both critical praise and popular success. Combining his extensive ethnographic experience in Iran and his broad command of critical theory, Michael M. J. Fischer argues that the widespread appeal of Iranian cinema is based in a poetics that speaks not only to Iran’s domestic cultural politics but also to the more general ethical dilemmas of a world simultaneously torn apart and pushed together. Approaching film as a tool for anthropological analysis, he illuminates how Iranian filmmakers have incorporated and remade the rich traditions of oral, literary, and visual media in Persian culture. Fischer reveals how the distinctive expressive idiom emerging in contemporary Iranian film reworks Persian imagery that has itself been in dialogue with other cultures since the time of Zoroaster and ancient Greece. He examines a range of narrative influences on this expressive idiom and imagery, including Zoroastrian ritual as it is practiced in Iran, North America, and India; the mythic stories, moral lessons, and historical figures written about in Iran’s national epic, the Shahnameh; the dreamlike allegorical world of Persian surrealism exemplified in Sadeq Hedayat’s 1939 novella The Blind Owl; and the politically charged films of the 1960s and 1970s. Fischer contends that by combining Persian traditions with cosmopolitan influences, contemporary Iranian filmmakers-many of whom studied in Europe and America-provide audiences around the world with new modes of accessing ethical and political experiences.

Over the past decade Iranian films have received enormous international attention, garnering both critical praise and popular success. Combining his extensive ethnographic experience in Iran and his broad command of critical theory, Michael M. J. Fischer argues that the widespread appeal of Iranian cinema is based in a poetics that speaks not only to Iran’s domestic cultural politics but also to the more general ethical dilemmas of a world simultaneously torn apart and pushed together. Approaching film as a tool for anthropological analysis, he illuminates how Iranian filmmakers have incorporated and remade the rich traditions of oral, literary, and visual media in Persian culture. Fischer reveals how the distinctive expressive idiom emerging in contemporary Iranian film reworks Persian imagery that has itself been in dialogue with other cultures since the time of Zoroaster and ancient Greece. He examines a range of narrative influences on this expressive idiom and imagery, including Zoroastrian ritual as it is practiced in Iran, North America, and India; the mythic stories, moral lessons, and historical figures written about in Iran’s national epic, the Shahnameh; the dreamlike allegorical world of Persian surrealism exemplified in Sadeq Hedayat’s 1939 novella The Blind Owl; and the politically charged films of the 1960s and 1970s. Fischer contends that by combining Persian traditions with cosmopolitan influences, contemporary Iranian filmmakers-many of whom studied in Europe and America-provide audiences around the world with new modes of accessing ethical and political experiences.

Anthropology as Cultural Critique helped redefine cultural anthropology in the 1980s. Now, with Emergent Forms of Life and the Anthropological Voice, pathbreaking scholar Michael M. J. Fischer moves the discussion to a consideration of the groundwork laid in the 1990s for engagements with the fast-changing worlds of technoscience, telemedia saturation, and the reconstruction of societies after massive trauma. Fischer argues that new methodologies and conceptual tools are necessitated by the fact that cultures of every kind are becoming more complex and differentiated at the same time that globalization and modernization are bringing them into exponentially increased interaction. Anthropology, Fischer explains, now operates in a series of third spaces well beyond the nineteenth- and twentieth-century dualisms of us/them, primitive/civilized, East/West, or North/South. He contends that more useful paradigms-such as informatics, multidimensional scaling, autoimmunity, and visual literacy beyond the frame-derive from the contemporary sciences and media technologies. A vigorous advocate of the anthropological voice and method, Fischer emphasizes the ethical dimension of cultural anthropology. Ethnography, he suggests, is uniquely situated to gather and convey observations fundamental to the creation of new social institutions for an evolving civil society. In Emergent Forms of Life and the Anthropological Voice Fischer considers a dazzling array of subjects-among them Iranian and Polish cinema, cyberspace, autobiographical and fictional narrative, and genomic biotechnologies-and, in the process, demonstrates a cultural anthropology for a highly networked world. He lays the groundwork for a renewed and powerful twenty-first-century anthropology characterized by a continued insistence on empirical fieldwork, engagements with other disciplines, and dialogue with interlocutors around the globe.

Anthropology as Cultural Critique helped redefine cultural anthropology in the 1980s. Now, with Emergent Forms of Life and the Anthropological Voice, pathbreaking scholar Michael M. J. Fischer moves the discussion to a consideration of the groundwork laid in the 1990s for engagements with the fast-changing worlds of technoscience, telemedia saturation, and the reconstruction of societies after massive trauma. Fischer argues that new methodologies and conceptual tools are necessitated by the fact that cultures of every kind are becoming more complex and differentiated at the same time that globalization and modernization are bringing them into exponentially increased interaction. Anthropology, Fischer explains, now operates in a series of third spaces well beyond the nineteenth- and twentieth-century dualisms of us/them, primitive/civilized, East/West, or North/South. He contends that more useful paradigms-such as informatics, multidimensional scaling, autoimmunity, and visual literacy beyond the frame-derive from the contemporary sciences and media technologies. A vigorous advocate of the anthropological voice and method, Fischer emphasizes the ethical dimension of cultural anthropology. Ethnography, he suggests, is uniquely situated to gather and convey observations fundamental to the creation of new social institutions for an evolving civil society. In Emergent Forms of Life and the Anthropological Voice Fischer considers a dazzling array of subjects-among them Iranian and Polish cinema, cyberspace, autobiographical and fictional narrative, and genomic biotechnologies-and, in the process, demonstrates a cultural anthropology for a highly networked world. He lays the groundwork for a renewed and powerful twenty-first-century anthropology characterized by a continued insistence on empirical fieldwork, engagements with other disciplines, and dialogue with interlocutors around the globe.

Using cultural anthropology to analyze debates that reverberate throughout the human sciences, George E. Marcus and Michael M. J. Fischer look closely at cultural anthropology's past accomplishments, its current predicaments, its future direction, and the insights it has to offer other fields of study. The result is a provocative work that is important for scholars interested in a critical approach to social science, art, literature, and history, as well as anthropology. This second edition considers new challenges to the field which have arisen since the book's original publication.

The aim of this book is to present in their historical context the debates that have been taking place in the Muslim world recently. It describes the place of Iranian culture in contemporary art and thought and the increasing influence Muslims are having on Western societies. In an introductory autobiographical chapter, Mehdi Abedi introduces readers to the world of Shi'ite believers. Beginning with the overthrow of Mossadegh in 1953 he describes Iranian class structure, patronage network, socialization, and religious psychology and shows how the political consciousness of an entire generation of Iranian youth - both religious fundamentalist and Marxist - was formed and exercised. Continuing with a description of how Muslims read and interpret the Qur'an, Michael Fischer and Mehdi Abedi set the interpretations against contemporary theories of reading in the modernist and postmodernist West and against contemporary Jewish and Christian thought. Other chapters analyze the hajj, the pilgrimage to Mecca and its various functions; describe the debate about nationalism and Islam between Shariati and Motahhari, two thinkers crucial to the revolution; outline the historical evolution of Baha'ism as apart from Shi'ism; and consider the burgeoning diaspora of Muslims in the West, using Houston as an example. A final chapter considers Iranian art as illustrative of the postmodern, intercultural context of the revolution and of contemporary Islam.