
Contents
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A Prehistoric Built Environment A Prehistoric Built Environment
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An Ancient Greek Perfume Jar An Ancient Greek Perfume Jar
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The Assemblage and Limits of Design The Assemblage and Limits of Design
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Contemporary Archaeological interests in Making and Design Contemporary Archaeological interests in Making and Design
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Archaeological Debates about Design Archaeological Debates about Design
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Nine Archaeological Theses on Design Nine Archaeological Theses on Design
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1. The Fallacy of Expression 1. The Fallacy of Expression
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2. The Fallacy of Context 2. The Fallacy of Context
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3. The Fallacy of Invention 3. The Fallacy of Invention
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4. We Have Always Been Cyborgs 4. We Have Always Been Cyborgs
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5. Creativity Is More Than Human Inspiration 5. Creativity Is More Than Human Inspiration
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6. The Artifact as Scenario 6. The Artifact as Scenario
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7. The Heterogeneity of Value 7. The Heterogeneity of Value
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8. Temporal Topology 8. Temporal Topology
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9. The Unspoken Life of Things and the Noise of Life 9. The Unspoken Life of Things and the Noise of Life
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Being Human and Human Being Being Human and Human Being
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8 Making and the Design of Things: Human Being and the Shape of History
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Published:November 2012
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Abstract
Without the dominant character of the freestanding, autonomous human agent to hold the spotlight at the center stage of history, what then becomes its subject? In addressing this question, chapter eight provides an alternative to both the homo-faber myth (thought proceeds action) and to the hylomorphic model of creation (form imposed upon matter) by taking a close look at the making of Fussell’s Lodge, an earthen long barrow, and the design of an ancient Greek perfume jar. Two slogans capture much of our argument: “we have always been cyborgs” and “making can belong to the most humble of things.” Therefore, no entity has a monopoly upon design. The chapter culminates in a presentation of nine archaeological theses on design.
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