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Material gerontology poses the question of how aging processes are co-constituted in relation to different forms of (human and non-human) materiality. This paper makes a novel contribution by asking when aging processes are co-constituted and how these temporalities of aging are entangled with different forms of materiality. In this paper, we explore the entanglements of temporality and materiality in shaping later life by framing them as spacetimematters (Barad, 2013). By drawing on empirical examples from data from a qualitative case study in a long-term care (LTC) facility, we ask how the entanglement of materiality and temporality of a fall-detection sensor co-constitutes aging. We focus on two types of material temporality that came to matter in age-boundary-making practices at this site: the material temporality of a technology-in-training and the material temporality of (false) alarms. Both are interwoven, produced and reproduced through spacetimematterings that established age-boundaries. Against the backdrop of these findings, we propose to understand age(ing) as a situated, distributed, more-than-human process of practices: It emerges in an assemblage of technological innovation discourses, problematizations of demographic change, digitized and analog practices of care and caring, bodily functioning, daily routines, institutionalized spaces and much more. Finally, we discuss the role power plays in those spacetimematterings of aging and conclude with a research outlook for material gerontology.
The oeuvre of contemporary Japanese photographer Rinko Kawauchi is characterized by an approach that gives precedence to process over product and combines conceptual art with vernacular traditions, making her pictures happily imperfect. Starting with Kawauchi's transmedial concept of the image, often positioned between word and image and mainly materialized through photo books, I propose that Kawauchi's photographs are imperfect thanks to her experimentation with technical mistakes, the vernacular subject-matter of everyday snapshots, seriality, sequencing, and format variation, elliptical visibility, the aesthetics of color, and a non-linear temporality. Imperfection, furthermore, emphasizes the materiality of the medium, and removes photography from the referent-centered documentary domain by way of aesthetic, rather than semiotic, significance. Imperfection also activates different modes of reception, emphasizing emotional involvement and participant viewing.