Tobias Rees – författare

Throughout the twentieth century, neuronal researchers knew the adult human brain to be a thoroughly fixed and immutable cellular structure, devoid of any developmental potential. Plastic Reason is a study of the efforts of a few Parisian neurobiologists to overturn this rigid conception of the central nervous system by showing that basic embryogenetic processes - most spectacularly the emergence of new cellular tissue in the form of new neurons, axons, dendrites, and synapses - continue in the mature brain. Furthermore, these researchers sought to demonstrate that the new tissues are still unspecific and hence literally plastic, and that this cellular plasticity is constitutive of the possibility of the human. Plastic Reason, grounded in years of fieldwork and historical research, is an anthropologist's account of what has arguably been one of the most sweeping events in the history of brain research-the highly contested effort to consider the adult brain in embryogenetic terms. A careful analysis of the disproving of an established truth, it reveals the turmoil that such a disruption brings about and the emergence of new possibilities of thinking and knowing.

Throughout the twentieth century, neuronal researchers knew the adult human brain to be a thoroughly fixed and immutable cellular structure, devoid of any developmental potential. Plastic Reason is a study of the efforts of a few Parisian neurobiologists to overturn this rigid conception of the central nervous system by showing that basic embryogenetic processes - most spectacularly the emergence of new cellular tissue in the form of new neurons, axons, dendrites, and synapses - continue in the mature brain. Furthermore, these researchers sought to demonstrate that the new tissues are still unspecific and hence literally plastic, and that this cellular plasticity is constitutive of the possibility of the human. Plastic Reason, grounded in years of fieldwork and historical research, is an anthropologist's account of what has arguably been one of the most sweeping events in the history of brain research-the highly contested effort to consider the adult brain in embryogenetic terms. A careful analysis of the disproving of an established truth, it reveals the turmoil that such a disruption brings about and the emergence of new possibilities of thinking and knowing.

Throughout the twentieth century, neuronal researchers knew the adult human brain to be a thoroughly fixed and immutable cellular structure, devoid of any developmental potential. Plastic Reason is a study of the efforts of a few Parisian neurobiologists to overturn this rigid conception of the central nervous system by showing that basic embryogenetic processes—most spectacularly the emergence of new cellular tissue in the form of new neurons, axons, dendrites, and synapses—continue in the mature brain. Furthermore, these researchers sought to demonstrate that the new tissues are still unspecific and hence literally plastic, and that this cellular plasticity is constitutive of the possibility of the human. Plastic Reason, grounded in years of fieldwork and historical research, is an anthropologist’s account of what has arguably been one of the most sweeping events in the history of brain research—the highly contested effort to consider the adult brain in embryogenetic terms. A careful analysis of the disproving of an established truth, it reveals the turmoil that such a disruption brings about and the emergence of new possibilities of thinking and knowing.

In this compact volume two of anthropology’s most influential theorists, Paul Rabinow and George E. Marcus, engage in a series of conversations about the past, present, and future of anthropological knowledge, pedagogy, and practice. James D. Faubion joins in several exchanges to facilitate and elaborate the dialogue, and Tobias Rees moderates the discussions and contributes an introduction and an afterword to the volume. Most of the conversations are focused on contemporary challenges to how anthropology understands its subject and how ethnographic research projects are designed and carried out. Rabinow and Marcus reflect on what remains distinctly anthropological about the study of contemporary events and processes, and they contemplate productive new directions for the field. The two converge in Marcus’s emphasis on the need to redesign pedagogical practices for training anthropological researchers and in Rabinow’s proposal of collaborative initiatives in which ethnographic research designs could be analyzed, experimented with, and transformed.Both Rabinow and Marcus participated in the milestone collection Writing Culture: The Poetics and Politics of Ethnography. Published in 1986, Writing Culture catalyzed a reassessment of how ethnographers encountered, studied, and wrote about their subjects. In the opening conversations of Designs for an Anthropology of the Contemporary, Rabinow and Marcus take stock of anthropology’s recent past by discussing the intellectual scene in which Writing Culture intervened, the book’s contributions, and its conceptual limitations. Considering how the field has developed since the publication of that volume, they address topics including ethnography’s self-reflexive turn, scholars’ increased focus on questions of identity, the Public Culture project, science and technology studies, and the changing interests and goals of students. Designs for an Anthropology of the Contemporary allows readers to eavesdrop on lively conversations between anthropologists who have helped to shape their field’s recent past and are deeply invested in its future.

In this compact volume two of anthropology’s most influential theorists, Paul Rabinow and George E. Marcus, engage in a series of conversations about the past, present, and future of anthropological knowledge, pedagogy, and practice. James D. Faubion joins in several exchanges to facilitate and elaborate the dialogue, and Tobias Rees moderates the discussions and contributes an introduction and an afterword to the volume. Most of the conversations are focused on contemporary challenges to how anthropology understands its subject and how ethnographic research projects are designed and carried out. Rabinow and Marcus reflect on what remains distinctly anthropological about the study of contemporary events and processes, and they contemplate productive new directions for the field. The two converge in Marcus’s emphasis on the need to redesign pedagogical practices for training anthropological researchers and in Rabinow’s proposal of collaborative initiatives in which ethnographic research designs could be analyzed, experimented with, and transformed.

Both Rabinow and Marcus participated in the milestone collection Writing Culture: The Poetics and Politics of Ethnography. Published in 1986, Writing Culture catalyzed a reassessment of how ethnographers encountered, studied, and wrote about their subjects. In the opening conversations of Designs for an Anthropology of the Contemporary, Rabinow and Marcus take stock of anthropology’s recent past by discussing the intellectual scene in which Writing Culture intervened, the book’s contributions, and its conceptual limitations. Considering how the field has developed since the publication of that volume, they address topics including ethnography’s self-reflexive turn, scholars’ increased focus on questions of identity, the Public Culture project, science and technology studies, and the changing interests and goals of students. Designs for an Anthropology of the Contemporary allows readers to eavesdrop on lively conversations between anthropologists who have helped to shape their field’s recent past and are deeply invested in its future.

For most of the twentieth century, anthropologists understood themselves as ethnographers. The art of anthropology was the fieldwork-based description of faraway others-of how social structures secretly organized the living-together of a given society, of how a people had endowed the world surrounding them with cultural meaning. While the poetics and politics of anthropology have changed dramatically over the course of a century, the basic equation of anthropology with ethnography-as well as the definition of the human as a social and cultural being-has remained so evident that the possibility of questioning it occurred to hardly anyone. In After Ethnos Tobias Rees endeavors to decouple anthropology from ethnography-and the human from society and culture-and explores the manifold possibilities of practicing a question-based rather than an answer-based anthropology that emanates from this decoupling. What emerges from Rees's provocations is a new understanding of anthropology as a philosophically and poetically inclined, fieldwork-based investigation of what it could mean to be human when the established concepts of the human on which anthropology has been built increasingly fail us.