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 Although so much of the life we care about takes place at home, this private space often remains behind closed doors and is notoriously difficult for researchers to infiltrate. We may think it is just up to us to decorate, transform and construct our homes, but in this book we discover a new form of 'estate agency', the active participation of the home and its material culture in the construction of our lives. What do the possessions people choose to take with them when moving say about who they are, and should we emphasize the mobility of a move or the stability of what movers take with them? How is the home an active partner in developing relationships? Why are our homes sometimes haunted by 'ghosts'?.

This intriguing book is a rare behind-the-scenes exposé of the domestic sphere across a range of cultures. Examples come from working class housewives in Norway, a tribal society in Taiwan, a museum in London, tenants in Canada and students from Greece, to produce a genuinely comparative perspective based in every case on sustained fieldwork. So Japan, long thought to be a nation that idealizes uncluttered simplicity, is shown behind closed doors to harbour illicit pockets of disorganization, while the warmth inside Romanian apartments is used to expel the presence of the state.

Representing a vital development in the study of material culture, this book clearly shows that we may think we possess our homes, but our homes are more likely to possess us.




The first 300 words from
Wabi-Sabi: for Artists, Designers, Poets & Philosophers
“Wabi-sabi is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional.”
---
“The immediate catalyst for this book was a widely publicized tea event in Japan. The Japanese aesthetic of wabi-sabi has long been associated with the tea ceremony, and this event promised to be a profound wabi-sabi experience. Hiroshi Teshigahara, the hereditary iemoto (grand master) of the Sogetsu school of flower arranging, had commissioned three of Japan’s most famous and fashionable architects to design and build their conceptions of ceremonial tea-drinking environments. Teshigahara in addition would provide a fourth design. After a three-plus-hour train and bus ride from my office in Tokyo, I arrived at the event site, the grounds of an old imperial summer residence. To my dismay I found a celebration of gorgeousness, grandeur, and elegant play, but hardly a trace of wabi-sabi. One slick tea hut, ostensibly made of paper, looked and smelled like a big white plastic umbrella. Adjacent was a structure made of glass, steel, and wood that had all the intimacy of a highrise office building. The one tea house that approached the wabi-sabi qualities I had anticipated, upon closer inspection, was fussed up with gratuitous post-modern appendages. It suddenly dawned on me that wabi-sabi, once the preeminent high-culture Japanese aesthetic and the acknowledged centerpiece of tea, was becoming—had become?—an endangered species.
“Admittedly, the beauty of wabi-sabi is not to everyone’s liking. But I believe it is in everyone’s interest to prevent wabi-sabi from disappearing altogether. Diversity of the cultural ecology is a desirable state of affairs, especially in opposition to the accelerating trend toward the uniform digitalization of all sensory experience, wherein an electronic “reader” stands between experience and observation, and all manifestation is encoded identically...”
 



 Dr. Johnson’s Doorknob, inspired by Liz Workman’s National Heritage Revisited series published in England in 2002, is a situationist’s catalog of overlooked and highly amusing personal objects from the most famous households in history.



 

A laser-cut artist's book. A tour through the artist's own house 85:1 scale,
454 laser cut pages.

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