Michael Taussig

Playful, enthralling, and whip-smart, Taussig's writing makes ingenious connections between ideas, thinkers, and things. An extended meditation on the mysteries of colour and the fascination they provoke, this book is the next step on his remarkable intellectual path.

What Color Is the Sacred?

Devil and Commodity Fetishism in South America

Walter Benjamin's Grave

Beauty and the Beast begins with the question: Is beauty destined to end in tragedy? Drawing on extensive fieldwork in Colombia, Michael Taussig scrutinizes the anxious, audacious, and sometimes destructive attempts people make to transform their bodies through cosmetic surgery and liposuction. He balances an examination of surgeries meant to enhance an individual’s beauty with an often overlooked counterpart, surgeries performed—often on high profile criminals—to disguise one’s identity. Situating this globally shared phenomenon within the economic, cultural, and political history of Colombia, Taussig links the country’s long civil war and its bodily mutilation and torture to the beauty industry at large, sketching Colombia as a country whose high aesthetic stakes make it a stage where some of the most important and problematic ideas about the body are played out. Central to Taussig’s examination is George Bataille’s notion of depense, or “wasting.” While depense is often used as a critique, Taussig also looks at the exuberance such squandering creates and its position as a driving economic force. Depense, he argues, is precisely what these procedures are all about, and the beast on the other side of beauty should not be dismissed as simple recompense. At once theoretical and colloquial, public and intimate, Beauty and the Beast is a true-to-place ethnography—written in Taussig’s trademark voice—that tells a thickly layered but always accessible story about the lengths to which people will go to be physically remade.

Beauty and the Beast

Set in the enchanted mountain of a spirit-queen presiding over an unnamed, postcolonial country, this ethnographic work of ficto-criticism recreates in written form the shrines by which the dead--notably the fetishized forms of Europe's Others, Indians and Blacks--generate the magical powers of the modern state.

The Magic of the State

"For a long time, we humans have excelled in mimicking nature with the goal of exploiting it. Now, with the existential threat of global climate change on the horizon, the ever-provocative Michael Taussig asks what it would take to change ourselves so as to save our world. Acknowledging the possibility of collapse and our all-too-human impotence in the face of accelerating disaster, this book is not solely a reflection on our tragic condition but also a theoretical effort to reckon with those human faculties that have fed our ambition for dominance over nature. At stake is an ultimate undoing of our sense of control--a "mastery of non-mastery." Animated by the urgency of a planet approaching meltdown, Taussig captures our moment, and all its attendant mythologies, with luminescent clarity"--

The Mastery of Non-Mastery in the Age of Meltdown

In this book, a make-believe cocaine museum becomes a vantage point from which to assess the lives of Afro-Colombian gold miners drawn into the dangerous world of cocaine production in the rain forest of Colombia's Pacific Coast. Although modeled on the famous Gold Museum in Colombia's central bank, the Banco de la República, Taussig's museum is also a parody aimed at the museum's failure to acknowledge the African slaves who mined the country's wealth for almost four hundred years. Combining natural history with political history in a filmic, montage style, Taussig deploys the show-and-tell modality of a museum to engage with the inner life of heat, rain, stone, and swamp, no less than with the life of gold and cocaine. This effort to find a poetry of words becoming things is brought to a head by the explosive qualities of those sublime fetishes of evil beauty, gold and cocaine. At its core, Taussig's museum is about the lure of forbidden things, charged substances that transgress moral codes, the distinctions we use to make sense of the world, and above all the conventional way we write stories.

My Cocaine Museum

“It is the contemporary elixir from which all manner of being emerges, the metamorphic sublime, an alchemist’s dream.” So begins Palma Africana, the latest attempt by anthropologist Michael Taussig to make sense of the contemporary moment. But to what elixir does he refer? Palm oil. Saturating everything from potato chips to nail polish, palm oil has made its way into half of the packaged goods in our supermarkets. By 2020, world production will be double what it was in 2000. In Colombia, palm oil plantations are covering over one-time cornucopias of animal, bird, and plant life. Over time, they threaten indigenous livelihoods and give rise to abusive labor conditions and major human rights violations. The list of entwined horrors—climatic, biological, social—is long. But Taussig takes no comfort in our usual labels: “habitat loss,” “human rights abuses,” “climate change.” The shock of these words has passed; nowadays it is all a blur. Hence, Taussig’s keen attention to words and writing throughout this work. He takes cues from precursors’ ruminations: Roland Barthes’s suggestion that trees form an alphabet in which the palm tree is the loveliest; William Burroughs’s retort to critics that for him words are alive like animals and don’t like to be kept in pages—cut them and the words are let free. Steeped in a lifetime of philosophical and ethnographic exploration, Palma Africana undercuts the banality of the destruction taking place all around us and offers a penetrating vision of the global condition. Richly illustrated and written with experimental verve, this book is Taussig’s Tristes Tropiques for the twenty-first century.

Palma Africana

Was macht die Faszination von Notizbüchern aus? Dieser Frage geht der Anthropologe Michael Taussig, für dessen Feldforschungen Notizbücher ein unverzichtbares Instrument darstellen, in seinem Essay auf den Grund. Im Zentrum seiner Untersuchung steht Walter Benjamin, der obsessiv seine Notizbücher füllte und nicht nur ihrem Zweck, sondern auch ihrer Materialität verfallen war. Anhand weiterer bekannter Notizenschreiber, von Roland Barthes über Le Corbusier bis zu Joan Didion, kristallisiert Taussig heraus, was ein Notizbuch wirklich ist. Weit mehr als ein bloßes »Ding«, entwickelt es ein veritables Eigenleben, das sich gerade aus dem speist, was nicht niedergeschrieben wurde, und schließlich ergreift es von seinem Besitzer Besitz: Das Notizbuch ist ein magisches Objekt, ein Fetisch. Der Anthropologe Michael Taussig (*1940) ist Professor an der Columbia University, New York. Sprache: Deutsch/Englisch

Feldforschungsnotizbücher (dOCUMENTA (13): 100 Notes - 100 Thoughts, 100 Notizen - 100 Gedanken # 001)

In his most ambitious and accomplished work to date, Michael Taussig undertakes a history of mimesis, the practice of imitation, and its relation to alterity, the opposition of Self and Other. Drawing upon such diverse sources as theories of Benjamin, Adorno and Horckheimer, research on the Cuna Indians, and theories of colonialism and postcolonialism, Taussig shows that the history of mimesis is deeply tied to colonialism, and more specifically, to the colonial trade's construction of "savages." With analysis that is vigorous, unorthodox, and often breathtaking, Taussig's cross-cultural discussion of mimesis deepens our understanding of the relationship between ethnography, racism and society.

A Particular History of the Senses

Mimesis and Alterity

In the vein of his books "The""Nervous System "and "Walter Benjamin s "Grave, "The Corn Wolf "presents a collection of essays that capture well Michael Taussig s ongoing development/trajectory as a writer and his recent move toward storytelling "as" theory. The thrust, in a nutshell, is to extend and develop the contrast between the "Nervous System "style of writing, writing that arises from what Taussig calls the bodily unconscious, and what he now refers to as agribusiness writing, a type of writing that strips ethnography not only of its capacity to surprise but also to connect with another world. Taussig defends ethnography from agribusiness writing just as the corn wolf in Frazer s "Golden Bough" inspirits and defends agricultural crops from the reapers. A crucial aspect of this analogy is that the corn animal "occupies" the field protecting it from disease and disaster, in short from profanation. Taussig calls this apotropaic magic as opposed to the magic that transforms crops (read ethnography ) into mere food (read scholarly article or theory ). His essays explore the idea of occupation in a variety of contexts and meanings such as Palestine and Wall Street."

The Corn Wolf

Robert West

María Victoria Uribe

José María Rojas

Joanne Rappaport

Odile Hoffmann

Nina S. de Friedemann

Rolf Knight

Juan Friede

Enrique Jaramillo B.

Axel Rojas

Hermann Trimborn

Milcíades Chaves Chamorro

Kathleen Romoli

Germán Colmenares

Luis Duque Gómez

Víctor Daniel Bonilla S.

María Teresa Findji

Trino Morales

Segundo Bernal Villa

Myriam Jimeno Santoyo

Franz X. Faust

Ronald A. Schwarz

Charles David Collins

Jaime Arocha Rodríguez

Simeone Mancini M.

Eduardo Mejía Prado

Armando Moncayo Urrutia

Gustavo de Roux

Christian Gros

Cristina Restrepo

Luz Ángela Herrera

Antropología hecha en Colombia. Tomo III

Pensar el suroccidente

I Swear I Saw This records visionary anthropologist Michael Taussig’s reflections on the fieldwork notebooks he kept through forty years of travels in Colombia. Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.

Drawings in Fieldwork Notebooks, Namely My Own

I Swear I Saw This

In this ambitious and accomplished work, Taussig explores the complex and interwoven concepts of mimesis, the practice of imitation, and alterity, the opposition of Self and Other. The book moves from the nineteenth-century invention of mimetically capacious machines, such as the camera, to the fable of colonial ‘first contact’ and the alleged mimetic power of ‘primitives’. Twenty years after the original publication, Taussig revisits the work in a new preface which contextualises the impact of Mimesis and Alterity. Drawing on the ideas of Benjamin, Adorno and Horckheimer and ethnographic accounts of the Cuna, Taussig demonstrates how the history of mimesis is deeply tied to colonialism and the idea of alterity has become increasingly unstable. Vigorous and unorthodox, this cross-cultural discussion continues to deepen our understanding of the relationship between ethnography, racism and society.

state fetishism

Maleficium

In a series of intriguing essays ranging over terror, State fetishism, shamanic healing in Latin America, homesickness, and the place of the tactile eye in both magic and modernity, anthropologist Michael Taussig puts into representational practice a curious type of engaged writing. Based on a paranoiac vision of social control and its understanding as in a permanent state of emergency leaving no room for contemplation between signs and things, these essays hover between story-telling and high theory and thus create strange new modes of critical discourse. The Nervous System will appeal to writers, scholars, artists, film makers, and readers interested in critical theory, aesthetics, and politics.

The Nervous System

The celebrated anthropologist and author of The Corn Wolf examines the Colombian culture of plastic surgery and its surprising relationship to violence. Drawing on extensive fieldwork in Colombia, Michael Taussig scrutinizes the audacious and sometimes destructive attempts people make to transform their bodies through cosmetic surgery and liposuction. He balances an examination of surgeries meant to enhance an individual’s beauty with their often-overlooked counterparts, surgeries performed—often on high profile criminals—to disguise one’s identity. Exploring this global phenomenon through Colombia’s economic, cultural, and political history, Taussig links the country’s long civil war and history of torture to the beauty industry at large, sketching Colombia as a country whose high aesthetic stakes make it a staging ground for some of the most important and problematic ideas about the body. Central to Taussig’s examination is George Bataille’s notion of depense, or “wasting.” While depense is often used as a critique, Taussig also looks at its position as a driving economic force. Depense, he argues, is precisely what these procedures are about, and the beast on the other side of beauty should not be dismissed as simple recompense. At once theoretical and colloquial, public and intimate, Beauty and the Beast is a true-to-place ethnography that tells a layered story about the lengths to which people will go to be physically remade.

In September 1940, Walter Benjamin committed suicide in Port Bou on the Spanish-French border when it appeared that he and his travelling partners would be denied passage into Spain in their attempt to escape the Nazis. In 2002, one of anthropology’s—and indeed today’s—most distinctive writers, Michael Taussig, visited Benjamin’s grave in Port Bou. The result is “Walter Benjamin’s Grave,” a moving essay about the cemetery, eyewitness accounts of Benjamin’s border travails, and the circumstances of his demise. It is the most recent of eight revelatory essays collected in this volume of the same name. “Looking over these essays written over the past decade,” writes Taussig, “I think what they share is a love of muted and defective storytelling as a form of analysis. Strange love indeed; love of the wound, love of the last gasp.” Although thematically these essays run the gamut—covering the monument and graveyard at Port Bou, discussions of peasant poetry in Colombia, a pact with the devil, the peculiarities of a shaman’s body, transgression, the disappearance of the sea, New York City cops, and the relationship between flowers and violence—each shares Taussig’s highly individual brand of storytelling, one that depends on a deep appreciation of objects and things as a way to retrieve even deeper philosophical and anthropological meanings. Whether he finds himself in Australia, Colombia, Manhattan, or Spain, in the midst of a book or a beach, whether talking to friends or staring at a monument, Taussig makes clear through these marvelous essays that materialist knowledge offers a crucial alternative to the increasingly abstract, globalized, homogenized, and digitized world we inhabit. Pursuing an adventure that is part ethnography, part autobiography, and part cultural criticism refracted through the object that is Walter Benjamin’s grave, Taussig, with this collection, provides his own literary memorial to the twentieth century’s greatest cultural critic.

A modern nation in a state of total disorder, Colombia is an international flashpoint—wracked by more than half a century of civil war, political conflict, and drug-trade related violence—despite a multibillion dollar American commitment that makes it the third-largest recipient of U.S. foreign aid. Law in a Lawless Land offers a rare and penetrating insight into the nature of Colombia's present peril. In a nuanced account of the human consequences of a disintegrating state, anthropologist Michael Taussig chronicles two weeks in a small town in Colombia's Cauca Valley taken over by paramilitaries that brazenly assassinate adolescent gang members. Armed with automatic weapons and computer-generated lists of names and photographs, the paramilitaries have the tacit support of the police and even many of the desperate townspeople, who are seeking any solution to the crushing uncertainty of violence in their lives. Concentrating on everyday experience, Taussig forces readers to confront a kind of terror to which they have become numb and complacent. "If you want to know what it is like to live in a country where the state has disintegrated, this moving book by an anthropologist well known for his writings on murderous Colombia will tell you."—Eric Hobsbawm

Michael Taussig

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