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Mario Schulze, Sarine Waltenspül: An Introduction to String Figures between Art, Anthropology, and Theory
An Introduction to String Figures between Art, Anthropology, and Theory
(S. 7 – 45)

Mario Schulze, Sarine Waltenspül

An Introduction to String Figures between Art, Anthropology, and Theory

  • Theoriebildung
  • Spiel
  • Technikgeschichte
  • Wissenschaftstheorie
  • Kulturgeschichte
  • Ethnologie

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Mario Schulze

Mario Schulze (*1986, Halle/Saale, Germany) is one of the curators of String Figures/Fadenspiele: A Research Exhibition. He works as a postdoctoral researcher at the Department of Media Studies of the University of Basel, specializing in the history of scientific films and exhibitions from the 1920s to the present. Mario Schulze holds a doctorate in Cultural Analysis from the University of Zurich. Postdoctoral appointments and Fellowships took him to the Humboldt University of Berlin, University of Lucerne, Collegium Helveticum Zurich and the Zurich University of the Arts. He is the author of Wie die Dinge sprechen lernten. Eine Geschichte des Museumsobjektes 1968–2000 (2017) and coauthor with Sarine Waltenspül of Fließend. Die Geschichte eines wissenschaftlichen Films (2025).

Sarine Waltenspül

Sarine Waltenspül (*1986, Basel-Stadt, Switzerland) is one of the curators of String Figures / Fadenspiele: A Research Exhibition. She is a media scholar and historian of science focusing on the 20th and 21st centuries, who also works as a filmmaker and curator. She studied philosophy, art history and cultural analysis, theory and history in Basel, Zurich and Berlin, earned a doctorate in media studies, worked at the Zurich University of the Arts, was a fellow at MECS/Lüneburg, Collegium Helveticum/ETH, Deutsches Museum Munich and a visiting professor at the University of Basel. She has co-/led various research projects, currently the Visualpedia project. She is the author of Modelle im Film. Eine kleine Kinogeschichte (2024) and co-author with Mario Schulze of Fließend. Die Geschichte eines wissenschaftlichen Films (2025).
Sarine Waltenspül: Modelle im Film
p OA b€ 25,00
Mario Schulze (Hg.), Sarine Waltenspül (Hg.): String Figures
b€ 35,00

Mario Schulze (Hg.), Sarine Waltenspül (Hg.)

String Figures
A Cultural Practice between Art, Anthropology, and Theory

Broschur, 400 Seiten

PDF, 400 Seiten

Stretched between eight fingers and two thumbs, sometimes between teeth and toes, lengths of string make shapes. String figures can do many things: they tell stories, they pass the time, they make the unsayable showable, they connect people. Whatever else they may be, they have often been explored by artists, ethnologists and theorists: as an aesthetic practice, as something to collect, as a non-Western way of thinking.

In recent years, string figures have gained prominence in cultural theory. Donna Haraway promotes string figures as a method of thinking and collaboration between both disciplines and species. Rather than the technicist and rigid metaphor of the network, Haraway’s string figures provide a playful, process-oriented, embodied, performative (and non-Western) mode of thought in which responsibility and collaboration are foregrounded.

Looking at ways of playing together on the ruins of our history the publication brings together different threads and seeks to weave connections between world regions and disciplines.

Works by Maya Deren, Harry Smith, Mulkun Wirrpanda, Nasser Mufti, Katrien Vermeire, Caroline Monnet, Toby Christian, Maureen Lander, Andy Warhol and contributions by Paul Basu, Seraina Dür and Jonas Gillmann, Mareile Flitsch, Rainer Hatoum, Ines Kleesattel, Robyn McKenzie, Nasser Mufti, Mario Schulze, Rani Singh, Henry Adam Svec, Éric Vandendriessche, Sarine Waltenspül among others; developed by Mario Schulze and Sarine Waltenspül in collaboration with the Museum Tinguely Basel, Switzerland

Inhalt

  • 7–45

    An Introduction to String Figures between Art, Anthropology, and Theory

    Mario Schulze, Sarine Waltenspül

  • 49–67

    Recollections of the String Figures of Yirrkala

    Robyn McKenzie

  • 69–91

    Exhibiting Colonial Entanglements . String Figures and Material Metaphors

    Paul Basu

  • 93–122

    Who Owns the Films? Who Shows the Films?. A Film of String Figures in a Web of Relationships

    Sarine Waltenspül

  • 123–135

    Ajarorpoq and TseLtse'no. On the Trail of Franz Boas' Cross-Cultural Fascination with Cat's Cradle

    Rainer Hatoum

  • 137–150

    Ethnomathematics of String Figure-Making Practices

    Eric Vandendriessche

  • 151–167

    Hesitant Hands on Similar Loops. Some Reflections on the Embodiedness of String Figures

    Mareile Flitsch

  • 171–189

    Shall We Rather Do String Figures Than Think in Networks?. Donna Haraway's SF Method

    Mario Schulze

  • 191–207

    From Buffalo Skin to Intertwined Snakes. The String Figures of Harry Smith

    Rani Singh

  • 209–221

    The Pliability of Form. Remediation in the String Figure Works of Jean Paul Riopelle and Vera Frenkel

    Henry Adam Svec

  • 223–243

    SF: String Figures as Hexenspiele, "Witches' Games". Mattering Figurations of Relational Aesthetics

    Ines Kleesattel

  • 245–257

    For an Aesthetic of Relating

    Seraina Dür, Jonas Gillmann

  • 305–308

    A Reflection on String Figures and That One Time They Went Viral. On My TikTok Channel

    David Ket'acik Nicolai

  • 309–312

    Powered by Indigenous Life and Grit. On Caroline Monnet's Mobilize

    Adam Piron

  • 313–316

    Strings, Relations, Associations. On Figures from the Upper Rio Negro

    Diana Guzmán Mirigõ, Andrea Scholz

  • 317–320

    A Door to the Imagination. On Andy Warhol's Screen Test: Harry Smith

    Andres Pardey

  • 321–324

    Members on All Continents. On the History of the International String Figure Association since 1994

    Mark Sherman

  • 325–329

    The Disappearance of a Female Ethnographer. On Diana Dreyfus

    Ellen Spielmann

  • 333–340

    Entangling Forms of Knowledge Production. On Vilma Chiara, Harald Schultz, and the String Figures of the Krahô People

    Maria Julia Fernandes Vicentin

  • 341–347

    Reconfiguring the Encyclopaedia Cinematographica. On the E-EC Interfaces

    Moritz Greiner-Petter

  • 349–352

    Connections in Time and Space. On Katrien Vermeire's and Rudolf Haefelfinger's String Figure Films

    Stephan Claassen

  • 353–358

    Te whai waewae a Māui. On Maureen Lander's String Games

    Moya Lawson

  • 359–363

    Multispecies Obscenity. On My Poster Multispecies Cat's Cradle

    Nasser Mufti

  • 365–371

    Cinema and String Figures. On Maya Deren's Witch's Cradle

    Ute Holl

  • 373–378

    Against Immediacy. On Toby Christian's Stringer

    Lynton Talbot

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