multimodal | Platypus

A Vocabulary for Junk in Four Movements

 Rebecca Carlson, Emil Rieger, Sarah Thanner  July 6, 2023

It was really a miracle that he was able to function. He had accumulated so much shit, it was starting to get concerning, or would have, if there had been anyone to be concerned. As it was, all he was, was being practical. Weirdos hoard shit for god knows what reasons but he was keeping a collection of spares. Admittedly, there was a tight line one approaches when one, for example, collects spares for other spares or if you’re missing the very thing to donate parts for in the first place. But he was aware of that. Each time a new thing came into the house, he would reflect on that line. It was a dotted line, like those where you’d put your signature or tear along. Which one it was, that’s an open discourse, to be negotiated anew. As of right now, there was a more practical concern. The (read more...)

Platypus in 2022

 Svetlana Borodina  January 25, 2022

 Listen to a reading of this post.

As the new year and the new semester have been off to (hopefully) a good start, Platypus is coming back to work too. Building on a decade of work (this year Platypus turns 10!), in 2022, we will continue our commitment to providing a platform for diverse voices and critical scholarship at the intersection of anthropology and STS. We have a new team, new projects, and a great deal of enthusiasm, as always. We can’t wait to offer our readers more experimental and multimodal content (powered by Platypus’s biggest team of talented multimodal contributing editors to date!), increase the linguistic accessibility of Platypus’s materials (possible with the support of invaluable multilingual volunteers!), and widen the spectrum of genres and means of academic expression (supported by our brilliant web producer and contributing editors). Stay tuned! (read more...)

Coming Soon: The MultiRepository

 Owen Kohl, Falina Enriquez  October 14, 2021

Este contenido también está disponible en español.

This post introduces a new collaborative project coming soon to CASTAC: an archive of online platforms that highlights how researchers have utilized different communicative modes and media in qualitative research and creative work, including in journalism and the arts. Think about how you usually encounter a researcher’s findings, a journalist’s account of an important event, or news of an artist’s latest work. In the early 20th century, you would often do so by reading an article in a newspaper, magazine, book, or academic journal. And although these publications might include pictures, graphs, and cartoons, they often emphasized textual ways of conveying information and ideas. Nowadays, an increasing number of researchers, journalists, and artists use multiple media technologies—often digital—to conduct and publicize their work, including text, graphics, and video, among others. Using and combining broader arrays of communication technologies reflects current media practices, but it also gives researchers and other professionals (read more...)

Burnout

 Clara del Junco, Hannah Eisler Burnett, Mathilde Gerbelli-Gauthier, Riley Linebaugh  February 9, 2021

Clara del Junco and Mathilde Gerbelli-Gauthier In this post, we’re sharing some excerpts from Burnout: a zine about academia, travel, and climate change that we put together over the course of the past months, in the time freed up by the hiatus in travel. The excerpts we’ve chosen for Platypus include 1) Our C*****n F*******t Calculator, along with our reflections on the limited utility of any carbon footprint tool; 2) Part of an essay by Riley Linebaugh, putting academic air travel into the context of global inequalities perpetuated by academic institutions; 3) A comic by Hannah Eisler Burnett that documents her transatlantic trip on a cargo ship. (read more...)

Getting Online / Becoming Misaligned in the American Midwest

 Matthew Darmour-Paul  April 14, 2020

“Data Threshers” is a simulation portrait that experiments with the representation of metabolic conflicts in multiple scales of time, space, and perspective. Formally, the video takes its cue from Grant Wood’s 1934 painting Dinner for Threshers. The piece seeks to stage an encounter for the viewer with the strange new rhythms of data mining, logging, and farming that are emerging along historical patterns of development in America’s heartland. (read more...)