Introduction
We are surrounded by objects. We create them, act upon them and include them in everything we do. Unsurprisingly, objects have been studied extensively. Chemists study elements that make up objects. Designers consider affordances as they create things. Social scientists explore object biographies. This essay focuses on the latter. I will discuss object biographies and apply it to an artwork.
Theory
If biographies are written about exceptional people, it makes sense to think that object biographies must be about exceptional things. This is not necessarily the case. Even exceptionally ordinary objects can have biographies.
This is because any object accumulates a biography as humans interact with it. Objects figure in our daily routines and are involved in social interactions (Tringham, 1994, in Gosden & Marshall, 1999, p.169). People even infuse ‘aspects of their own biographies in things’ (Hoskins, 2006, p.74). Clearly, relationships between humans and objects have become entangled (Harding, 2016, p.8). Therefore, object biographies are no longer just about the objects themselves, but also the people that interacted with them at different points and how. Objects gain biographies as they take part in our life stories.
An object can also gain or lose value over time. For instance, the monetary value of a mundane object can increase if it becomes rare. Take for example old comics that have become collector’s items as fewer of them remain in circulation (Figure 1).
It is not just about money though. Something cheap or made with simple materials can also be someone’s treasure.
Value comes not only from what an object costs but also what it represents. According to Gibson (2010) objects have symbolic value as they construct and represent identities, encapsulate stories and trigger memories (p.55). In particular, she focused on how death produces value and meaning in objects left behind. A hair strand can represent a whole person, a tangible link between the deceased and the living. Everyday objects can also take on new life as symbols of extraordinary events. For instance, a normal umbrella has come to symbolize democracy protests in Hong Kong (2014 Umbrella Movement). Protesters used umbrellas (Figure 2) to protect themselves from tear gas fired by police (Dissayanake, 2014).
Since objects and their meanings change, an object cannot be fully understood by examining it at one point of its life. Instead, we should examine the processes or cycles it undergoes as a whole (Kopytoff, 1986 in Gosden & Marshall, 1999, p.170). Dannehl (2018) suggests using the life cycle model, which examines an object across different stages like Production, Distribution and Consumption. The life cycle assessment, a subset of the life cycle model, breaks down the stages even further, extending the analysis from Extraction of raw materials up to the object’s Disposal. Fleshing out each stage can uncover more stories and interactions between objects and people, leading to a richer object biography.
So far we discussed how humans affect objects, either by interacting with them or by assigning meanings. Interaction can go the other way too. Objects also have agency, ‘the socio-culturally mediated capacity to act’ (Hoskins, 2006, p.74). Objects ‘act’ in the sense that they inspire emotional responses in people. Gell (in Hoskins, 2006) argues that objects are infused with the intentionality of their creators. He talks about how art is created not just for aesthetics but to inspire viewers to ‘act upon the world and other persons’ (p.74). Agency is not static either. The type of response inspired by an object depends on the background of the person interacting with it.
Objects can also have agency in the form of affordances. Affordances are ‘perceived and actual properties…that determine just how the thing could possibly be used’ (Norman, 2002, p.9). These helpful features direct how people use the objects and in what contexts.
I will apply object biographies to a lamp featuring digital artwork by Elmer Kouwenberg.
My Chosen Object
Before the object came into my possession, it already had a rich biography. Elmer is a visual artist who suffered a spinal cord injury after an accident. He works with assistive technologies and his nephew to create detailed and colorful prints. Right from the Production stage, the object was infused with a remarkable story and people’s collective efforts.
I became entangled in the Distribution stage when I ran into Elmer on my way to a bookstore. He had a stall at Amsterdam Spui and I recognized him from a dance documentary.
We made small talk about his art, his process, dance, a mouth painting exhibit I visited in Japan and about my studies. His art spoke to my media background and experiences, adding layers of meaning. Someone from a different background might respond differently.
His art came as large paintings, tiles and lamps, each with different affordances (Figure 5 and 6). I remember him saying the tiles can be placed on a wall and they look like they are floating. Generous commentary like these reveal how he intends his art to be presented (his intentionality). Furthermore, his interactions with customers during Distribution adds a personal touch and weaves more people into the object’s biography.
I bought two lamps (45 euros). Although not that expensive, they are meaningful to me.
Now, my object is in the Consumption stage. The battery has died, but I am (re)using it as table decor. I enjoy it when I need an eye-break from my screen. If I move countries, I would take it with me. Outside the Dutch context, it will take on even more meaning, reminding me that once upon a time, I lived in the Netherlands and met a cool artist.
The cycle does not have to end so soon. As part of the course Digital Collections, I made a 3D model of the artwork:
Digital models extend the life of objects, enabling them to surpass the lives of their creators. They can be remixed and given new lives by other artists. They become part of games, animations and more, creating fresh narratives.
Conclusion
Objects, even ordinary ones, have interesting stories to tell. In different stages of its life, its meaning and value can change as it interacts with humans.
I discussed an art lamp through the lens of object biographies. Although the lamp was not expensive, it was rich with symbolism. It represents Elmer’s talent and his biography. It represents how technology is making art an inclusive space. It triggers memories of our brief but unforgettable interaction. In stages of its life cycle, it absorbed aspects of the people that interacted with it. It is an object with many stories, but with digitization, it can tell even more.
References
Dannehl, K. (2018). Object biographies: From production to consumption. In K. Harvey (Ed.), History and material culture: A student’s guide to approaching alternative sources (pp. 123-138). Routledge.
Dissanayake, S. (2014 September 29). How the humble umbrella became a HK protest symbol. BBC News. https://www.bbc.com/news/world-asia-china-29407067
Gell, A. (1998). Art and agency: A new anthropological theory. Oxford University Press.
Gibson, M. (2010). Death and the Transformation of Objects and Their Value. Thesis Eleven, 103(1), 54-64. https://doi.org/10.1177/0725513610388988
Gosden, C., & Marshall, Y. (1999). The cultural biography of objects. World Archaeology, 31(2), 169-178. https://doi.org/10.1080/00438243.1999.9980439
Harding, A. (2016). Introduction: Biographies of Things. Distant Worlds Journal No.1, 5-8. https://doi.org/10.11588/dwj.2016.1.30158
Hoskins, J. (2006). Agency, biography and objects. In C. Tilley, W. Keane, S. Kuechler, M. Rowlands & P. Spyer (Eds.), Handbook of material culture (pp. 74-84). Sage Publications.
Kopytoff, I. (1986). The cultural biography of things: Commoditization as process. In A. Appadurai (Ed.), The Social Life of Things: Commodities in Cultural Perspective (pp. 64-91). Cambridge University Press.
Kouwenberg, E. (n.d.). Amsterdam Psychedelia. Elmer Kouwenberg Art. https://www.elmerkouwenberg.com/
Norman, D. (2002). Design of Everyday Objects. Basic Books.
Tringham, R. (1994). Engendered places in prehistory. Gender, Place and Culture, 1(2), 169-203.
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