National Matters investigates the role of material culture and materiality in defining and solidifying national identity in everyday practice. Examining a range of "things"—from art objects, clay fragments, and broken stones to clothing, food, and urban green space—the contributors to this volume explore the importance of matter in making the nation appear real, close, and important to its citizens. Symbols and material objects do not just reflect the national visions deployed by elites and consumed by the masses, but are themselves important factors in the production of national ideals. Through a series of theoretically grounded and empirically rich case studies, this volume analyzes three key aspects of materiality and nationalism: the relationship between objects and national institutions, the way commonplace objects can shape a national ethos, and the everyday practices that allow individuals to enact and embody the nation. In giving attention to the agency of things and the capacities they afford or foreclose, these cases also challenge the methodological orthodoxies of cultural sociology. Taken together, these essays highlight how the "material turn" in the social sciences pushes conventional understanding of state and nation-making processes in new directions.

Conceptualism and Materiality. Matters of Art and Politics underscores the significance of materials and materiality within Conceptual art and conceptualism more broadly. It challenges the notion of conceptualism as an idea-centered, anti-materialist enterprise, and highlights the political implications thereof. The essays focus on the importance of material considerations for artists working during the 1960s and 1970s in different parts of the world. In reconsidering conceptualism’s neglected material aspects, the authors reveal the rich range of artistic inquiries into theoretical and political notions of matter and material. Their studies revise and diversify the account of this important chapter in the history of twentieth-century art - a reassessment that carries wider implications for the study of art and materiality in general .

'A clear, concise, easy-to-read account of the issues between sex, gender and feminism . . . an important book' Evening Standard 'A call for cool heads at a time of great heat and a vital reminder that revolutions don't always end well' Sunday Times Material Girls is a timely and trenchant critique of the influential theory that we all have an inner feeling known as a gender identity, and that this feeling is more socially significant than our biological sex. Professor Kathleen Stock surveys the philosophical ideas that led to this point, and closely interrogates each one, from De Beauvoir's statement that, 'One is not born, but rather becomes a woman' (an assertion she contends has been misinterpreted and repurposed), to Judith Butler's claim that language creates biological reality, rather than describing it. She looks at biological sex in a range of important contexts, including women-only spaces and resources, healthcare, epidemiology, political organization and data collection. Material Girls makes a clear, humane and feminist case for our retaining the ability to discuss reality, and concludes with a positive vision for the future, in which trans rights activists and feminists can collaborate to achieve some of their political aims.

Body Matters approaches the material world directly; it seeks to remind people that they are the matter of their bodies. This volume offers an assortment of contributions from anthropology, archaeology and medieval studies, with case studies from northern Europe, the Near East, East Africa and Amazonia, which variously draw attention to the multiple shifting materials that comprise, impact upon and co-create human bodies. This lively collection foregrounds myriad material influences interacting with and shaping the human body; the chapters come together to illustrate the fundamental fleshy, bony, suppurating, leaky and oozing physicality of being human. Ultimately, by reminding readers of their indisputable materiality, Body Matters seeks to draw people and the rest of the material world together to illustrate that bodies not only seep into (and are part of) the landscape, but equally that people and the material world are inextricably co-constitutive.

What is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.

Bringing together texts and work by theorists and practitioners who are making material central to their work, this book reflects the diverse areas of inquiry which are expanding current material discourse. Focusing on the cultural, political, economic, technological and intellectual forces which shape material practices in architecture, the contributors draw on disciplines ranging from philosophy, history and pedagogy to art practice and digital and low-tech fabrication. By paying critical attention to material, a wide range of issues emerge which are otherwise excluded from architectural discourse, issues that shape and determine the buildings we make, the processes we use and the ways we understand them. Beautifully illustrated and designed, this book is a unique collection which will be of great interest to architectural practitioners and theorists who want to consider the wider implications of material practice, and to students who are developing their own approach to making buildings.

The third volume in the Perspectives on Process Organization Studies Series focuses on the entanglement of social and material aspects of organizations, and in particular the role of objects and material artifacts in the process of organizing.