IN THE BURROW:
Critical Approaches to Infrastructure
THIS EVENT IS SUPPORTED BY THE UCI HUMANITIES CENTER, ASSOCIATED GRADUATE STUDENTS, SCHOOL OF SOCIAL SCIENCES, CENTER FOR EARLY CULTURES, ENVIRONMENTAL HUMANITIES RESEARCH CENTER, VISUAL STUDIES PHD PROGRAM, THE ELAHÉ OMIDYAR MIR-DJALALI PRESIDENTIAL CHAIR IN ART HISTORY AND ARCHEOLOGY, AND THE DEPARTMENTS OF ART HISTORY, HISTORY, ENGLISH, COMPARATIVE LITERATURE, AND CLASSICS.
MARCH 8-9, 2024
University of California, Irvine
Burrowing describes a laborious process of moving through a dense medium — of confronting a mundane materiality with one’s own bodily experience. The burrow maps the void left by an organism through time within a subterranean, subaltern, or otherwise subliminal environment. Burrowing requires the adoption of an infrastructural disposition towards the world.
From a desertified minor literature to the phatic labor of human speech acts to water conduits and digital media, the study of infrastructure has drawn upon, brought together, and adsorbed a wide variety of discourses across the humanities and social sciences. Infrastructure encourages perspectives ‘from below,’ it excavates subsumed and alternative landscapes; it sublimates parallel biological and material worlds, giving breath to their underlying possibilities for life. As pipes, aqueducts, roads, fiber optic cables, maintenance labor, and catacombs — as minor literatures, artifacts, and temporalities — infrastructures offer us conceptual burrows with which to overhaul and undermine scholarly perspectives and methods which are often rooted in the nodes and networks articulated from positions of power and historical privilege.
CONFERENCE SCHEDULE
Friday
Coffee & Registration
9am – 9:30am Humanities Gateway Courtyard
Opening Remarks
9:15am – 9:30am Humanities Gateway 1070 (McCormick Screening Room)
Materiality
9:30am – 11:30am Humanities Gateway 1070 (McCormick Screening Room)
Chair: Dr. James Nisbet
Department of Art History (UCI)
The Middle Mineral and the Mine: An Ethno-Mineralogy of Studio Glass
This paper follows the co-becomings of glass ‘batch’ – that mix of the raw minerals from which glass is made – from the furnace to the mine from ancient to studio glassmaking. Oft-regarded as an artistic medium, glass is seen as a homogenous substance, leaving its constituent minerals, their social histories, and their trajectories of co-becoming with humans unseen and unknown. Designated a media mineralia, or “middle mineral” by the Renaissance Italian anatomist, Fallopius (1523-1562), glass is a mediated and man-made compound. Informed by new materialism, postcolonial, and critical indigenous theory, this paper follows the co-becoming of glassblower and glass from the mineral reserves of the south-eastern United States – home to the purest silica quartz in the world – to today’s contemporary glass studio. It asks, “How can mines and minerals tell an alternative history of American studio glassblowing?” “What alternative stories emerge from following quartz, silica, and feldspar rather than the amalgamated ‘medium’ of the furnace and crucible?” Methodologically, this paper draws from a month of ethnographic research working at an Appalachian glass batch factory and a contemporary silica mine as well as conducting oral histories at two defunct mines instrumental in the early studio glassblowing movement as sources of feldspar, silica, and quartz. Coupled with new materialism, this ethnographic research advances a new method: ethno-mineraology. It draws both from extensive interviews with early studio glassblowers, mining engineers, mining geologists, and local historians as well as archival research at both the local county historical society and international collections of early illuminated manuscripts of glassblowers and glass furnaces. This paper shifts the question of “natural resources” in the studio glass discourse from sustainability (human use) to materialities (human/non-human becomings). Therein, glass reveals itself as so many mineral journeys of self and world making from the pits of the mine.
Dr. Erin O’Connor
Marymount Manhattan College
Department of Sociology, Associate Professor
Of Mass and Masa: Alberto T. Arai’s Pre-Columbian Vision of a Mexican Modern Architecture
In his books La arquitectura de bonampak (1949) and Caminos para una arquitectura mexicana (1952), Mexican architect Alberto T. Arai made an unusual claim about ancient Maya architecture: namely that the tradition’s iconic pyramid structure had emerged from the comparatively humble shape of a rolled ball of masa dough, soon to be flattened into a tortilla, that all-important staple of the Mesoamerican diet. Implausible as this claim may sound to contemporary ears, Arai buttressed his claim with a sophisticated analysis of ancient Maya architectural forms and the psychological experience of pre-Columbian built space. This paper interprets this argument through the lens of Lambros Malafouris’ material engagement theory, examining how material, process, and form together exerted a determinative influence on ancient American design and, indeed, might be productively understood as constitutive elements of the pre-Columbian builder’s “extended mind.” Pursuing this design trajectory into the 20th century, this paper will examine how Arai appropriated Maya forms in his own work in the 1950s in a decidedly modern and functionalist idiom.
Lee Purvey
University of California, Irvine
Visual Studies Program
Roman Perception of the Villa via Artificial Lighting
Within Roman culture, lamps, and by extension the light and shadows they emit, were at once purely functional and an object of philosophical, religious, and theatrical experience. While lighting apparatus, furniture, and other belongings could be moved and reorganized to change the function of a room in a Roman villa, the room’s walls and their decorations remained a fixed, static element within in the space – yet these static elements could be dynamically animated and perceptually altered by the use of lighting. This paper analyzes the relationship between artificial lighting and wall art, and by extension the contextualization of artificial lighting within Roman society, within the interior of the domus/villa. In doing so, it seeks to reach a greater understanding of the perception of wall art within a setting and context authentic to a contemporary Roman’s experience by studying the dynamic nature of artificial lighting (via clay lamp, metal candelabra, etc.).
The methodology of this project includes the analysis of the medium and materiality of lamps, and surveys Roman literary evidence that reveals Roman cultural perspectives on lighting infrastructure. I examine surviving villa wall art, such as the frescoes from the Imperial Villa at Boscoreale, as case studies in order to exemplify the different phenomenological experiences in which such images can participate. As the findings of this research project show a completely different experience when observing a Roman’s interior environment when using lighting infrastructure contemporary to its context, I provide a demonstration comparing the static/dynamic relationships between a wall and its illumination program.
C. Dane Kreeft
University of Georgia
Department of Classics
Lunch
11:30 -12:30 Humanities Gateway Courtyard
Encapsulation
12:30pm – 2:30pm Humanities Gateway 1030
Chair: Dr. Herschel Farbman (UCI)
Department of Comparative Literature
Containers, Consolidation, and Capital: A History of the Logistics of Software
This paper charts the rise of the software container, or the packaging of software into deterministic and portable environments. Through containers and container management technology like Docker and Kubernetes, software at a high level can be segregated, hidden, moved, and interfaced with in a standard and replicable manner. Like the shipping container’s transformations on global economic flows, so too does the software container’s offerings of standardization and modularity enable the massive and opaque level of scale that characterizes the cloud today. I also argue that the container’s undemocratic drive to scale is closely linked to discourses of openness and the commons, a culmination of Silicon Valley’s understanding of freedom as an entrepreneurial endeavor. To articulate this claim, I trace the history of container technology development alongside the history of the cloud, from the roots of Unix through the 2010s. I conclude with a call for critical scholars of technology to not only consider the infrastructural components of platform capitalism but also its logistical aspects, or the techniques coordinating the circulation of capital.
Nathan Kim, University of Michigan
School of Information
Ocean Art History and Critical Environmental Practice: Visualizing Algae as a Passenger of Change
This paper discusses Passengers of Change, a co-laboratory of artists, historians, and scientists studying the visual and hydropolitical ecology of the seaweed Undaria pinnatifida. Commonly known as wakame, Undaria travels in the ballast tanks of transoceanic cargo ships and is counted among the world’s 100 “most invasive” organisms. Utilizing methods from visual studies, critical environmental studies, and multispecies studies, the project engages material, scientific, and visual histories of Undaria as frameworks to develop a critique of the characterization of species as “non-native” and “invasive.” With its research spanning the studio, laboratory, and archives, Passengers of Change revises the scientific study of out-of-place algae through practices that open up multiple ocean art histories, places, creatures, and forms of exchange.
This critical environmental discourse looks onto the work of contemporary artists who have aligned the pressures of institutional forces, questions of creative agency, critical histories, and symbiotic associations in their ocean-facing practices. Allan Sekula’s development of critical maritime realism informs the project’s negotiation with how an errant alga has been associated with recursive processes and technologies of maritime capitalism. Undaria’s relationship to displacement, migration, and change is also framed in relation to Maria Thereza Alves’s archival counter-mapping of the ballast flora transited by ships on return voyages to the major slave-trading ports of Europe. Building from a confluence of interdisciplinary and multispecies commitments, Passengers of Change attempts to recontour boundaries between art and science by drawing together human and algal interests.
Joe Riley, University of California, San Diego
Visual Arts Program; Scripps Institution of Oceanography
Voids, Vessels, Vesicles: Aesop and the Empty Amphora in Rome’s Urban Anatomy
Nastasya Kosygina, University of California, Irvine
Visual Studies Program
Coffee
2:30pm – 2:45pm Humanities Gateway Courtyard
Land and Power
2:45pm – 4:45pm Humanities Gateway 1030
Chair: Dr. Lara Fabian (UCLA)
Department of Near Eastern Languages & Cultures
Land, Records, and Infrastructural Power: Inscribing Imperiality in Seleucid Asia Minor
This paper applies the theory of infrastructural power to examine how early Seleucid kings (Antiochus I and II) erected inscriptions concerning land transfer through their despotic power and used them to strengthen the Seleucid state power in securing support from the Greek city-states in western Asia Minor. In ca. 274 BCE, by enticing poleis such as Ilium and Scepsis to compete for the integration of the land he gave to Aristodicides, Seleucid loyalist, Antiochus I effectively turned those cities into the source of their own pro-Seleucid leaning. Then, by setting up a stone stele documenting this episode as a piece of imperial infrastructure in poleis such as Ilium, Antiochus I also fortified the empire’s ability to produce the imperiality that linked those cities’ prosperity to the empire’s good will. Afterward, in 254/3 BCE, Antiochus II also exhorted the same kind of competition among the Asiatic poleis for the land he sold to his wife Laodice and erected stelai as the imperial landscape that captured the growing self-awareness of those poleis as the dependents of the empire’s benefactory agendas. The despotic effort of these two Seleucid kings, therefore, fostered the empire’s infrastructural capacity in penetrating the civic integrity of those city-states and propagating among them a sense of subjectivity.
Qizhen Xie, Brown University
Department of Classics; Department of History
Intensification as Imperial Control: Agrarian Investment and Agricultural Expansion in the Political Economy of late-Sasanian Ērānšahr
Throughout much of the long twentieth century, historical narratives of the succession of ancient empires in the Near East and Central Asia have adopted a decidedly declensionist orientation: treatments of both ancient Mesopotamia and neighboring Elam presumed a teleology beginning with an efflorescence of agriculture from the earliest territorial states through the conclusion of the west Eurasian Bronze Age followed by a long period overexploitation that ultimately produced the desert conditions that characterize much of modern southern Iraq and western Iran, perhaps with a brief recovery in the early centuries of the Islamic age. Recent archaeological work on Sasanian Ērānšahr, the last Iranian empire of antiquity ca. third-seventh centuries CE, offers an alternative interpretation, one characterized by extensive investment in infrastructure to facilitate maximal agrarian expansion.
This paper explores both how landholders in the late Sasanian state affected these gains in agricultural productivity and interrogates whether investment in irrigation reflects a revolutionary change in the exercise of empire or if they constitute a pragmatic attempt to perpetuate the status quo. In Ērānšahr of the sixth and early seventh centuries, rather than invest in coercive architectures, such as roads facilitating the movement of soldiers, the construction of defensive walls, and the manning of fortresses, to strengthen the ability of the state to secure its internal revenue streams, the imperial core experienced unprecedented investment in agricultural capacity. The result was an expansion of the hectarage of arable lands to a point never since equaled in history of Iraq and western Iran. Through canals and qanats, direct imperial investment in Mesopotamia and Khuzestan might have laid the groundwork for the unprecedented centralization of the state, or at the very least reflects the region’s evolving geopolitical and environmental situation at the end of antiquity.
Mark Gradoni, University of California, Irvine
Department of History
Financial Nature: Botanical Gardens, Plantations, and Agro-capital Enclosure in British Malaya
Investigating the knowledge-production complex which supported the robust plantation economies of British Malaya, this paper traces and problematises the development of the imperial botanic garden network from the European metropole to peripheral sites in Southeast Asia as an infrastructure for agro-capital enclosure. An attempt to excavate the subterranean impulses of globalised capital which continue to structure and condition contemporary eco-social and -spatial imaginaries, the mutually constitutive relationship between botanic gardens and plantations is also explored, and their functions as economic and bureaucratic apparatuses fuelling the commercial engine of the colonial empire through the identification and mass cultivation of cash crops critically examined. Rooted in the transcontinental journeys of two key plants—rubber and oil palm, from South America and Africa respectively—which are not native to the Malay Peninsula yet became agro-economic linchpins of the British colonial empire, this paper focuses on both the role of the Singapore Botanic Garden as a locus of scientific imperialism, and its economic ramifications in forming spaces of extraction that follow the logics of what Anna Tsing posits as ‘scaleability’. Also noting attendant instances of failure and mismanagement intertwined with the application of financial(ized) logics to labour and production, I ultimately argue for the need to re-imagine the methodological possibilities of identifying and deconstructing the epistemic infrastructures of capital infrastructure as a way of breaking free from colonial techno-scientific modes, and embracing localised, granular, and messy forms of embodied knowledges and multi-species co-existence.
Alfonse Chiu, Yale University
Yale School of Architecture, Environmental Design Program
The Infrastructures of Memory of the Colombian Post-conflict
One of the most delicate points in the peace process between the Colombian government and the FARC guerrilla, between 2012 and 2016, revolved around the remembrance and memorialization of the so-called Colombian armed conflict. Due to pressure from the victims’ associations, the peace talks provisioned a series of monuments that should call for collective reflection over the consequences of more than six decades of undeclared civil war. The monuments were to serve as guarantees of non-repetition, and the artists who seek to produce them must undergo a selection process that is monitored by the Ministry of Culture and the National Museum of Colombia. In 2017, the third of these proposed official monuments, “Fragmentos,” was inaugurated in Bogotá by the artist Doris Salcedo, who called it a counter-monument: an empty space that is provided for art to make visible the consequences left by the war in the country.
Simulteanously with the commissioning of this official narrative, organized communities who had suffered for years from the scourge of war, through participatory processes, began to articulate pedagogical strategies and spatial interventions to carry out exercises of their own memory. There, they did not seek to reconcile their experiences with the official story, but instead sought to vindicate the way in which, through the community fabric, they faced the conflict in the midst of profound geographical and political isolation. One such regional community remembrance project is the Itinerant Museum of Memory and Identity of the Montes de María community. Through the review of “Fragmentos” and the Itinerant Museum of Memory and Identity, this work will analyze how the infrastructure of memory has become the place where the agency of the territory is disputed, where local stories are confronted with the official history, and where the use of victimization to determine the identity of those who are at its core is questioned.
Luis Serna, University of California, Irvine
Visual Studies Program
Coffee
4:45pm – 5:00pm Humanities Gateway Courtyard
Keynote: Dr. John N. Hopkins, New York University
5:00pm – 6:30pm Humanities Gateway 1030
Saturday
Coffee & Registration
9:00am – 9:30am Humanities Gateway Courtyard
Beyond the Body
9:30am – 11:30am Humanities Gateway 1030
Chair: Dr. Ian Straughn (UCI)
Department of Anthropology
Manichaean Anxieties and the Human Infrastructure of Writing in an Oral Environment
Late Antique religious life in the Middle East was marked by a process of “scripturalization” wherein religious practices came to be organized around written works associated with significant religious figures. Although the Christian Gospels are perhaps the most famous of these works, the production of pseudo-graphic material for figures attests to the breadth and productivity of this new centrality of authoritative written media for religious life. While at home amongst these Late Antique religious experiments in writing religions, Manichaeism stands out as its canonical scripture showcases a reflective awareness and interest in the processes of redaction, authorization, and (faithful) transmission which are integral to the media of scripture. Meanwhile, the possible foibles of the transition from oral to written media became central to Manichaeanism’s emic history of religions.
This distinctive reflective interest in the contemporary media environment and media infrastructure within Manichaean scriptures renders them a useful vista from which to consider the anxieties and fantasies of a particular infrastructure of letters. This presentation showcases how these scriptural concerns and hopes center on a particular process endemic to literate media in a predominately oral media environment, namely, the submersion of “lettered labor” as infrastructure. For letters in a predominately unlettered period, a network of scribes, amanuenses, readers, and other “lettered laborers” facilitated the flow of and communication between oral and written media, and the never fully submerged agency of this human infrastructure produced fears of betrayal as well as fantasies of adoring transmission.
Leighton Smith, University of California, Irvine
Department of History
Mystery and Myth as Infrastructure
Two well-circulated folktales/myths appear as liner notes for Cabo Verdian collective albums Space Echo – The Mystery Behind the Cosmic Sound of Cabo Verde Finally Revealed! and Pour Me A Grog: The Funaná Revolt in 1990s Cabo Verde. The Space Echo tale details the arrival of flotsam in the form of musical instruments on the coast of one of the islands of Cabo Verde, which Amilcar Cabral uses in the guerrilla fight against the Portuguese empire. The other tale from Pour Me a Grog details the forced migration to Sao Tome e Principe and back to Cabo Verde, in which men come back with an accordion that creates a raucous sound that makes a new path for freedom. These tales emerge from different parts of Cabo Verde and its diaspora and detail an alternative history adjacent to the more dominant global narrative about the island’s revolution. I take these tales as Mythical Infrastructuring that facilitates a history from below that challenges colonial archives. I rely on Cordero, Mascareño, Rodríguez, and Salinas’s (2023) development of Mythical Infrastructuring as “a heuristic device that aims to capture the connection between the immanent experience of the concrete world and the transcendental worldviews linked to not-yet- physically-existent objects” to which I add, relies on Edouard Glissant’s (1990) use of the Imaginary proposing that “Thought draws the imaginary of the past: a knowledge becoming.” Through a sonic engagement of myth and folktales on the other side of the Atlantic, I contend with the folklore of Africa as facilitated by Western Philosophy and mythos in the consolidation of the New World. Thus, I ask how myths and folktales as infrastructure offer a theoretical leap to rethink time and space differently from Hegel’s damnation of Africa.
Sibahle Ndwayana, University of California, Berkeley
Department of Geography
Data, Excrement, Information, Humors: Infrastructural Flows In and Outside of the Body
This paper extends an infrastructural study of bodies, sewer pipes, and fiber optic cables. I attend to the varied temporal rhythms of flows of data, excrement, information, and humors, and what complex textures might be read through their imbrication. Beginning in the sewer, I overlap flows of fecal data and digital information to gesture towards an embodied metaphysical conception of data as a vibrant, relational, social substance. I then add a historic layer to these flows by tracing information as a humor based on early modern humoral theories. This study addresses the development from pre- and early modern conceptions of information as the informing of a substance to its modern use as contextless data or knowledge. By overlapping digital, material, and corporeal flows, I reorient the flow of information within a framework that is materially and environmentally embedded, one that might allow us to consider how to reconstitute information in relation to our bodies.
Dr. Sabrina Chou, Central Saint Martins
Critical Studies/Fine Art, Lecturer
Cyborg City: Metabolism’s Vision of Cybernetic Architectures
In 1960 and 1961, two radical Japanese architecture proposals announced the arrival of a new paradigm: Metabolism’s “Proposals for a New Urbanism” and Tange Kenzo’s “A Plan for Tokyo.” Metabolism advocated for the design of structures that could house entire cities, often elevated on massive pilotis or floating on the ocean, incorporating modularity, change, and growth into their designs. Tange subsequently applied Metabolic principles to his plan, proposing a series of massive looping, branching, interconnected highways and megastructures floating in Tokyo Bay to account for the postwar population boom.
This paper extends recent scholarship on Metabolism by investigating the underexplored influences of Norbert Wiener’s cybernetics and Imanishi Kinji’s ecological philosophy. In my reading, the fields of cybernetics and systems theory not only enabled the development of new technologies, but more radically, conceptually collapsed the distinctions between human, machine, organism, and city. This provided the Metabolists and Tange with a model to incorporate ecology and technology into a unified infrastructural imaginary. Further, I establish a direct historical link between the Metabolists and the Japanese ecologist Imanishi Kinji and argue that the Metabolists synthesized Imanishi’s natural philosophy with cybernetics. Imanishi’s thinking, in particular his ecological aesthetics and notion of “lifestyle,” provides an important framework for analyzing Metabolism’s approach and understanding the form they imagined cybernetic architecture would take.
Through the compounded prisms of Wiener’s cybernetics and Imanishi’s ecology, I demonstrate that the Metabolists understood people to be beings of information whose cities should match and facilitate their cybernetic character. This character would be complemented by the imagined external environments of advanced multilevel highways, mobile living capsules, and networked urban space. Drawing comparisons to 1960s computer architecture and hardware, I show that Metabolism ultimately re-presented the visual appearance of early digital technology as the ideal form for structures housing and transporting the human species.
Zachary Korol Gold, University of California, Irvine
Visual Studies Program
Lunch
11:30am – 12:30pm Humanities Gateway Courtyard
Toxicity
12:30pm – 2:30pm Humanities Gateway 1030
Chair: Dr. Tyrus Miller (UCI)
School of Humanities Dean, Professor of Art History and English
The (Anti)social Art of Hamad Butt
There has been a proliferation of critical and creative production in the arts and humanities around the idea of forming new worlds. In this paper, I critique worlding by recovering histories of queer negativity and contamination through an analysis of the work of Hamad Butt. Butt created his most well-known work Familiars––glass sculptures filled with toxic substances––in 1992 while succumbing to an AIDS-related illness, and by the time it was finished, HIV/AIDS was the single highest mortality factor for men ages 25-44. Butt was creating these works at a time when notions of toxicity and collectivity were being radically transformed by the HIV/AIDS epidemic. I argue that the volatility of the sculptures––their threat of toxicity––limits our willingness for proximity, while prompting us to confront the inherent necropolitical ethics at the heart of survivability. Butt’s toxic art forces us to negotiate with the potential that our bodies will be transgressed, that we will be contaminated.
Tatum Howey, University of California, San Diego
Department of Literature, Cultural Studies
Pipe Dreams: Infrapolitics in California State Prisons
This presentation questions the multiple meanings of broken-yet-functioning infrastructure in California state prisons. Infrastructural disrepair is a primary contributor to the environmental and physiological toxicity of incarceration. Starting from the context of California prisons replete with infrastructural breakages, it unpacks infrapolitical struggle waged in prisons through the shifting maintenance of carceral control and through people incarcerated who mobilize fugitive modes of resistance. The presentation is principally concerned with methodological approaches to this research on a spatial scale which is largely undocumented, inaccessible, and/or unspectacular. Considering the recent political turn in California to shutter prison facilities or experiment with “green” prison reconstruction, this presentation questions the various pipe dreams signified, imagined, and enacted by infrastructural (dis)repair.
Kerry Keith, University of California, San Diego
Department of Communication
Lines in the Sand: Re-Situating Works by Hercules Segers and Michael Heizer
In the printed landscapes of Hercules Segers, cross-hatching constitutes a rift in the earth, a space where the images and insertions of the pictorial plane collide with the wider world. But this citational language of iconoclasm speaks to larger issues of erosion; namely, the troubling of theological time posed by the exposure and study of sedimentary layers, a kind of geologic scratch in the printing plate. Half a millennium later, Michael Heizer would instantiate this kind of insertion in more literal terms, carving out City from the southwestern landscape to create a monumental earthwork. Both bodies of work have regularly been read through the atemporal contexts of alternative times: Segers, as adopted by modernist critics, is lauded as a prescient predecessor of psychoanalytic interiority, while Heizer’s creation has been cast as an allusion to ancient earthworks. In reading these projects of excavation and erosion as twin manifestations of an enduring impulse to re-locate the self in time by turning to the submerged site, I offer a restorative reading and situate our contemporary moment of crisis within a longer lineage of apocalyptic anxieties.
Teresa Fleming, University of California, Irvine
Visual Studies Program
Coffee
2:30pm – 2:45pm Humanities Gateway Courtyard
Labor
2:45pm – 4:45pm Humanities Gateway 1030
Chair: Dr. Aaron Trammell (UCI)
Department of Informatics
Morton’s Maypole: Being a Surprising and True Account of Subversion in Early America
In New English Canaan (1637), Thomas Morton describes performing an “old English custom” in a New World setting. On May 1 st , 1627, Morton hoisted “a goodly pine of 80 foote longe” into the air to serve as a maypole. The towering festival structure was visible for miles, attracting the attention of the region’s inhabitants as well as itinerant traders. A barrel of beer was brewed for the May Day revels, and it was freely distributed to all who came to the celebration, regardless of status (free or indentured) or ethnicity (indigenous or white settler). Merrymount, the name Morton gave to his settlement, fully bore out its name until a cadre of armed Puritans came to cut down the maypole and break up the revels. The maypole, to Puritan colonial authorities, was an egregious symbol of sensuality and leisure. It flagrantly transgressed the Puritan ethics of work, piety, and modesty.
This paper will introduce the controversy over Morton’s maypole and contextualize why the creation of this structure so deeply troubled the Puritans. I draw upon a variety of historical sources that illustrate—both textually and visually—the Plymouth settlers’ anxieties over interracial cooperation and community-building fostered by the synchronized labor of creating the maypole. The experience of colonists and Native New Englanders working together to fell, clean, decorate, and raise the maypole has been elided in the records left behind. In contrast, my talks centers on the intensive labor required to create the Maypole as part of the social process bringing together producers and traders on mutually beneficial terms. That social experience of cooperative labor, invisible as it is, made the ties stronger between the natives and colonists at Merrymount. The accomplishment of hoisting the maypole, then, deepened the bond between settlers at Merrymount and indigenous peoples they traded with even before the revels that the Puritans demonized had begun.
Patrick McBurnie, University of California, Irvine
Department of English
The Heist Movie as Specialist Fantasy
This paper reads the subgenre of the heist film as a fantasy about specialized labor, economic planning, and forms of collectivity. My thinking is situated within scholarship on crime film, mass culture, and what S. A. Skvirsky calls the ‘process genre.’ I examine the ways these films think about the performance of the worker-expert, and relatedly, how they navigate the relationship of the individual ‘specialist’ to the administration of the collective plan. The heist film’s interest in the coordination of specialized skills and knowledges, and its attention to the team members’ careful performance of their tasks, are essential to its form. Typically an account of a meticulously orchestrated bank or casino robbery, the heist film both allegorizes the organizational infrastructure of global capital and its violent processes of extraction, and at the same time offers a counter-fantasy in which the house loses this time, and everyone else gets paid.
Isabel Bartholomew, University of California, Irvine
Department of English
The Politics & Polemics of Infrastructure: RSS and Online Leftist Audiocultures
Abstract: 250 words
Alexander Rudenshiold, University of California, Irvine
Department of Film and Media Studies
Coffee
4:45pm – 5:00pm at Humanities Gateway Courtyard
Keynote: Dr. Lisa Parks, University of California, Santa Barbara
5:00pm – 6:30pm Humanities Gateway 1030
Closing Remarks/Reception
6:30pm – 7:00pm Humanities Gateway 1030