[1]
Ascher, M. 2002. Reading Khipu: Labels, Structure and Format. Narrative threads: accounting and recounting in Andean Khipu. University of Texas Press.
[2]
Ascher, Marcia 1991. Ethnomathematics: a multicultural view of mathematical ideas. Chapman & Hall.
[3]
Ascher, Marcia and Ascher, Robert 1981. Code of the quipu: a study in media, mathematics, and culture. University of Michigan Press.
[4]
Ashby, M. F. and Johnson, Kara 2002. Materials and design: the art and science of material selection in product design. Butterworth-Heinemann.
[5]
Bâ, A.H. 2010. African Art: Where the Hand has Ears. The craft reader. Berg. 379–385.
[6]
Baker, Nicholson 1996. The size of thoughts: essays and other lumber. Vintage.
[7]
Ball, Philip 1997. Made to measure: new materials for the 21st century. Princeton University Press.
[8]
Baron-Cohen, Simon and Harrison, John E. 1997. Synaesthesia: classic and contemporary readings. Blackwell.
[9]
Bataille, Georges and Hurley, Robert 1988. The accursed share: an essay on general economy. Zone Books : Distributed by MIT.
[10]
Batchelor, David 2000. Chromophobia. Reaktion.
[11]
Bateson, G. 1973. Style, Grace, Information in primitive Society. Primitive art & society. Oxford University Press for the Wenner-Gren Foundation for Anthropological Research.
[12]
Baudrillard, Jean and Benedict, James 1996. The system of objects. Verso.
[13]
Baxandall, Michael 1988. Painting and experience in fifteenth century Italy: a primer in the social history of pictorial style. Oxford University Press.
[14]
Baxandall, Michael 1988. Painting and experience in fifteenth century Italy: a primer in the social history of pictorial style. Oxford University Press.
[15]
Baxandall, Michael 1980. The limewood sculptors of Renaissance Germany. Yale University Press.
[16]
Baxandall, Michael 1980. The limewood sculptors of Renaissance Germany. Yale University Press.
[17]
Belting, Hans 2003. Art history after modernism. University of Chicago Press.
[18]
Bloch, M. 1998. Internal and external memory: different ways of being in history. How we think they think: anthropological approaches to cognition, memory, and literacy. Westview Press. 67–85.
[19]
Boas, Franz Primitive art. Dover Publications.
[20]
Boivin, Nicole 2008. Material cultures, material minds: the impact of things on human thought, society, and evolution. Cambridge University Press.
[21]
Boles, Margo Smith et al. 1999. Art from the land: dialogues with the Kluge-Ruhe Collection of Australian Aboriginal art. University of Virginia.
[22]
Boles, Margo Smith et al. 1999. Art from the land: dialogues with the Kluge-Ruhe Collection of Australian Aboriginal art. University of Virginia.
[23]
Bolton, L. 2003. The object in view: Aborigines, Melanesians, and museums. Museums and source communities: a Routledge reader. Routledge. 42–54.
[24]
Bordowitz, G. 2018. Surface. Glenn Ligon, Untitled (I am a man). Afterall Books. 13–17.
[25]
Bourdieu, P. 1996. The Social Genesis of the Eye. The rules of art: genesis and structure of the literary field. Stanford University Press. 313–322.
[26]
Bourdieu, Pierre and Emanuel, Susan 1996. The rules of art: genesis and structure of the literary field. Polity Press.
[27]
Brown, M.F. 1998. Can culture be copyrighted? Current anthropology. 39, 2 (1998), 193–222. https://doi.org/10.1086/204721.
[28]
Campbell, S. 2001. The Captivating Agency of art: Many Ways of Seeing. Beyond aesthetics: art and the technologies of enchantment. Berg. 117–135.
[29]
Campbell, S. 2002. The Kabitam Form (chapter 4). The art of Kula. Berg. 69–89.
[30]
Campbell, Shirley F. 2002. The art of Kula. Berg.
[31]
Campbell, Shirley F. 2002. The art of Kula. Berg.
[32]
Cherbo, Joni Maya and Zolberg, Vera L. 1997. Outsider art: contesting boundaries in contemporary culture. Cambridge University Press.
[33]
Clarke, Alastair 2008. The pattern recognition theory of humour. Pyrrhic House.
[34]
Classen, C. 1990. Sweet colors, fragrant songs: sensory models of the Andes and the Amazon. American Ethnologist. 17, 4 (Nov. 1990), 722–735. https://doi.org/10.1525/ae.1990.17.4.02a00070.
[35]
Classen, Constance 1993. Worlds of sense: exploring the senses in history and across cultures. Routledge.
[36]
Connerton, Paul 1989. How societies remember. Cambridge University Press.
[37]
Coombe, Rosemary J. 1998. The cultural life of intellectual properties: authorship, appropriation, and the law. Duke University Press.
[38]
Coombes, Annie E 1994. Temples of empire. Reinventing Africa: museums, material culture and popular imagination in late Victorian and Edwardian England. Yale University Press.
[39]
Coote, J. 1992. Marvels of Everyday Vision: The Anthropology of Aesthetics and the Cattle Keeping Nilotes. Anthropology, art and aesthetics. Clarendon Press.
[40]
Coote, J. et al. 2000. Transformations: the art of recycling. Pitt Rivers Museum.
[41]
Coote, Jeremy and Shelton, Anthony 1992. Anthropology, art and aesthetics. Clarendon Press.
[42]
Corbin, Alain 1994. The foul and the fragrant: odour and the French social imagination. Picador.
[43]
Coupaye, L. 2009. Ways of Enchanting: Chaines Operatoires and Yam Cultivation in Nyamikum Village, Maprik, Papua New Guinea. Journal of Material Culture. 14, 4 (Dec. 2009), 433–458. https://doi.org/10.1177/1359183509345945.
[44]
Coupaye, Ludovic 2012. Growing art, displaying relationships: yam technology in Nyamikum Abelam (ESP, PNG). Berghahn Books.
[45]
Cytowic, Richard E. 1998. The man who tasted shapes. MIT Press.
[46]
D’Alleva, A. 2001. Captivation, Representation, and the Limits of Cognition: Interpreting Metaphor and Metonymy in Tahitian Tamau. Beyond aesthetics: art and the technologies of enchantment. Berg. 79–96.
[47]
Daniels, I. 2010. Domestic Spirituality (chapter 3). The Japanese house: material culture in the modern home. Berg. 81–102.
[48]
Daniels, I.M. 2003. Scooping, raking, beckoning luck: luck, agency and the interdependence of people and things in Japan. Journal of the Royal Anthropological Institute. 9, 4 (Dec. 2003), 619–638. https://doi.org/10.1111/j.1467-9655.2003.00166.x.
[49]
Daniels, Inge 2010. The Japanese house: material culture in the modern home. Berg.
[50]
Danto, A.C. 1989. Artifact and Art. Art/artifact: African art in anthropology collections. Center for African Art. 18–32.
[51]
De Monchaux, N. 2011. Space/suit and the new look. Spacesuit. MIT Press. 14–34.
[52]
De Monchaux, Nicholas 2011. Spacesuit: fashioning Apollo. MIT Press.
[53]
Deger, J. 2006. Worlding a Yolngu World: Radiant Visions and the Flash of Recognition. Shimmering screens: making media in an aboriginal community. University of Minnesota Press. 185–214.
[54]
Dominguez Rubio, F. 2016. On the discrepancy between objects and things: An ecological approach. Journal of Material Culture. 21, 1 (Mar. 2016), 59–86. https://doi.org/10.1177/1359183515624128.
[55]
Douglas, M. 1968. The Social Control of Cognition: Some Factors in Joke Perception. Man. 3, 3 (1968), 361–376.
[56]
Douglas, Mary 1991. Purity and danger: an analysis of the concepts of pollution and taboo. Routledge.
[57]
Drost, W. 1996. Colour, Sculpture, Mimesis: A Nineteenth Century Debate. The colour of sculpture, 1840-1910. Waanders. 61–72.
[58]
Dudi-Huberman, G. 2006. The Order of Material: Plasticities, Malaises, Survivals. Sculpture and psychoanalysis. Ashgate. 195–211.
[59]
Duve, Thierry de 1996. Kant after Duchamp. MIT.
[60]
Eglash, R. 1997. Bamana Sand Divination: Recursion in Ethnomathematics. American Anthropologist. 99, 1 (Mar. 1997), 112–122. https://doi.org/10.1525/aa.1997.99.1.112.
[61]
Eglash, R. 1998. Fractals in African settlement architecture . Complexity. 4, 2 (1998), 21–29.
[62]
Eglash, Ron 1999. African fractals: modern computing and indigenous design. Rutgers University Press.
[63]
Eglash, Ron 1999. African fractals: modern computing and indigenous design. Rutgers University Press.
[64]
Empsom, R. 2007. Separating and containing people and things in Mongolia. Thinking through things: theorising artefacts ethnographically. Routledge. 113–141.
[65]
Empson, Rebecca 2011. Harnessing fortune: personhood, memory, and place in Mongolia. Oxford University Press for The British Academy.
[66]
Fabian, J. 1996. Painting, talking and writing: The making of the history of Zaire. Remembering the present: painting and popular history in Zaire. University of California Press. 219–246.
[67]
Fabian, Johannes 1998. Moments of freedom: anthropology and popular culture. University Press of Virginia.
[68]
Faris, James 1988. ‘ART/artifact’: On the Museum and Anthropology. Current Anthropology. 29, 5 (Dec. 1988), 775–779.
[69]
Fernandez, J.W. 1971. Principles of Opposition and Vitality in Fang Aesthetics. Art and aesthetics in primitive societies: a critical anthology. Dutton.
[70]
Forge, Anthony and Wenner-Gren Foundation for Anthropological Research 1973. Primitive art & society. Oxford University Press for the Wenner-Gren Foundation for Anthropological Research.
[71]
Forge, J.A.W. 1965. Art and Environment in the Sepik. Proceedings of the Royal Anthropological Institute of Great Britain and Ireland. 1965 (1965). https://doi.org/10.2307/3031753.
[72]
Forty, A. 2012. Mud and Modernity. Concrete and culture: a material history. Reaktion. 13–43.
[73]
Forty, Adrian 1986. Objects of desire: design and society since 1750. Thames and Hudson.
[74]
Freedberg, David 1989. The power of images: studies in the history and theory of response. University of Chicago Press.
[75]
Freedberg, David 1989. The power of images: studies in the history and theory of response. University of Chicago Press.
[76]
Gage, J. 1999. Color Colorado - cross-cultural studies in the ancient Americas. Colour and meaning: art, science and symbolism. Thames & Hudson. 105–120.
[77]
Gage, J. 2009. The sound of colour. Colour and culture: practice and meaning from antiquity to abstraction. Thames & Hudson. 227–246.
[78]
Geismar, H. 2005. Copyright in context: carvings, carvers, and commodities in Vanuatu. American Ethnologist. 32, 3 (Aug. 2005), 437–459. https://doi.org/10.1525/ae.2005.32.3.437.
[79]
Gell, A. 1995. Closure and multiplication: an essay on Polynesian Cosmology and Ritual. Cosmos and society in Oceania. Berg. 21–56.
[80]
Gell, A. 1977. ’Magic, Perfume, Dream.. Symbols and sentiments: cross-cultural studies in symbolism. Academic Press.
[81]
Gell, A. 1995. On Coote’s ‘marvels of everyday vision’. Social Analysis: The International Journal of Social and Cultural Practice. 38 (1995), 18–31.
[82]
Gell, A. 1998. Style and Culture (chapter 8) in Art and Agency. Art and agency: an anthropological theory. Clarendon Press. 155–215.
[83]
Gell, A. 2006. The Technology of Enchantment and the Enchantment of Technology. The art of anthropology: essays and diagrams. Berg. 159–187.
[84]
Gell, A. 1998. The Theory of the Art Nexus. Art and agency: an anthropological theory. Clarendon Press. 12–26.
[85]
Gell, A. 1993. Theoretical introduction (chapter 1). Wrapping in images: tattooing in Polynesia. Clarendon Press. 1–39.
[86]
Gell, Alfred 1998. Art and agency: an anthropological theory. Clarendon Press.
[87]
Gell, Alfred 1998. Art and agency: an anthropological theory. Clarendon Press.
[88]
Gell, Alfred 1993. Wrapping in images: tattooing in Polynesia. Clarendon Press.
[89]
Gell, Alfred and Hirsch, Eric 1999. The art of anthropology: essays and diagrams. Athlone.
[90]
Ginzburg, C. 2002. Representation: The word, the idea, the thing. Wooden eyes: nine reflections on distance. Verso.
[91]
Gombrich, E. H. 1984. The sense of order: a study in the psychology of decorative art. Phaidon.
[92]
Guss, D.M. 2006. All things made. The anthropology of art: a reader. Blackwell. 374–386.
[93]
Haddon, Alfred C. 1895. Evolution in art: as illustrated by the life histories of designs.
[94]
Haidy Geismar and Christopher Tilley 2003. Negotiating Materiality: International and Local Museum Practices at the Vanuatu Cultural Centre and National Museum. 73, 3 (2003), 170–188.
[95]
Hamby, Louise et al. 2001. Art on a string: aboriginal threaded objects from the Central Desert and Arnhem Land. Object-Australian Centre for Craft and Design.
[96]
Harris, C. 2012. The Invention of Tibetan Contemporary Art (chapter 7). The museum on the roof of the world: art, politics, and the representation of Tibet. University of Chicago Press. 207–237.
[97]
Hayward, T. 2000. Tin working in India: An Interview with Irshad Farid. Transformations: the art of recycling. Pitt Rivers Museum. 49–55.
[98]
Herder, Johann Gottfried and Gaiger, Jason 2002. Sculpture: some observations on shape and form from Pygmalion’s creative dream. University of Chicago Press.
[99]
Hereniko, V. 1994. Clowning as Political Commentary: Polynesia, Then and Now. The Contemporary Pacific. 6, 1 (1994), 1–28.
[100]
Hereniko, Vilsoni 1995. Woven gods: female clowns and power in Rotuma. University of Hawai’i Press.
[101]
Hetherington, K. 2004. Secondhandedness: consumption, disposal, and absent presence. Environment and Planning D: Society and Space. 22, 1 (2004), 157–173. https://doi.org/10.1068/d315t.
[102]
HOWES, D. 2008. Olfaction and transition: an essay on the ritual uses of smell. Canadian Review of Sociology/Revue canadienne de sociologie. 24, 3 (July 2008), 398–416. https://doi.org/10.1111/j.1755-618X.1987.tb01103.x.
[103]
Howes, D. 1988. On the Odour of the Soul: Spatial Representation and Olfactory Classification in Eastern Indonesia and Western Melanesia. Bijdragen Tot de Taal-land- en Volkenkunde. 144, 1 (1988), 84–113.
[104]
Howes, David 1991. The varieties of sensory experience: a sourcebook in the anthropology of the senses. University of Toronto Press.
[105]
Hutcheon, Linda 2000. A theory of parody: the teachings of twentieth-century art forms. University of Illinois Press.
[106]
Hutcheon, Linda 1992. Double talking: essays on verbal and visual ironies in Canadian contemporary art and literature. ECW Press.
[107]
Hutcheon, Linda 1991. Splitting images: contemporary Canadian ironies. Oxford University Press.
[108]
Ingold, T. 2000. Making Culture and Weaving the World. Matter, materiality and modern culture. Routledge. 50–72.
[109]
Ingold, T. 2009. The textility of making. Cambridge Journal of Economics. 34, 1 (July 2009), 91–102. https://doi.org/10.1093/cje/bep042.
[110]
Ingold, T. 2007. Traces, threads and surfaces (chapter 2). Lines: a brief history. Routledge. 39–71.
[111]
J. A. W. Forge Art and Environment in the Sepik. Proceedings of the Royal Anthropological Institute of Great Britain and Ireland. No. 1965, 23–31.
[112]
Jeremy Tanner 2013. Figuring out Death: Sculpture and Agency at the Mausoleum of Helicarnassus and the Tomb of the First Emperor of China. Distributed objects: meaning and mattering after Alfred Gell. Berghahn. 58–87.
[113]
Jewsiewicki, B. 1991. Painting in Zaire. Africa explores: 20th century African art. Center for African Art.
[114]
Kantorowicz, Ernst Hartwig The king’s two bodies: a study in mediaeval political theology. Princeton University Press.
[115]
Kawlra, A. 2005. Kanchipuram Sari: Design for Auspiciousness. Design Issues. 21, 4 (Sept. 2005), 54–67. https://doi.org/10.1162/074793605774597451.
[116]
Klein, Ursula and Spary, E. C. 2010. Materials and Expertise in Early Modern Europe: Between Market and Laboratory. The University of Chicago Press.
[117]
Knappett, C. 2005. Cognition, Perception and Action. Thinking through material culture: an interdisciplinary perspective. University of Pennsylvania Press. 35–64.
[118]
Kratz, C.A. 1995. Rethinking Recyclia. African Arts. 28, 3 (Summer 1995). https://doi.org/10.2307/3337263.
[119]
Küchler, S. 2002. Images of Malanggan (chapter 5). Malanggan: art, memory and sacrifice. Berg. 111–150.
[120]
Küchler, Susanne 2002. Malanggan: art, memory and sacrifice. Berg.
[121]
Küchler, Susanne 2002. Malanggan: art, memory and sacrifice. Berg.
[122]
Küchler, Susanne 2002. Malanggan: art, memory and sacrifice. Berg.
[123]
Latour, B. 1993. Ethnography of a ‘high-tech’ case: About Aramis. Technological choices: transformation in material cultures since the Neolithic. Routledge. 372–398.
[124]
Latour, B. How to be Iconophilic in Art, Science and Religion. Picturing Science, Producing Art. MIT. 418–440.
[125]
Latour, Bruno 1993. We have never been modern. Harvard University Press.
[126]
Layton, Robert 1991. The anthropology of art. Cambridge University Press.
[127]
LEACH, J. 2003. Owning Creativity: Cultural Property and the Efficacy of Custom on the Rai Coast of Papua New Guinea. Journal of Material Culture. 8, 2 (July 2003), 123–143. https://doi.org/10.1177/13591835030082001.
[128]
LEACH, J. 2003. Owning Creativity: Cultural Property and the Efficacy of Custom on the Rai Coast of Papua New Guinea. Journal of Material Culture. 8, 2 (July 2003), 123–143. https://doi.org/10.1177/13591835030082001.
[129]
Levi-Strauss, C. 1963. Split representation in the art of Asia and America. Structural anthropology. Basic Books. 245–268.
[130]
Lévi-Strauss, C. 1966. The science of the concrete. The savage mind. Weidenfeld and Nicholson. 1–33.
[131]
Lidchi, H. 1997. The Poetics and the politics of exhibiting other cultures. Representation: cultural representations and signifying practices. Sage in association with the Open University. 153-168-209–210.
[132]
Losche, D. 1995. THE SEPIK GAZE: Iconographic Interpretation of Abelam Form. Social Analysis: The International Journal of Social and Cultural Practice. 38 (1995), 47–60.
[133]
Lucas, G. 2002. Disposability and Dispossession in the Twentieth Century. Journal of Material Culture. 7, 1 (Mar. 2002), 5–22. https://doi.org/10.1177/1359183502007001303.
[134]
Manchanda, Catharina and Mildred Lane Kemper Art Museum 2006. Models and prototypes. Mildred Lane Kemper Art Museum.
[135]
Maniura, Robert and Shepherd, Rupert 2006. Presence: the inherence of the prototype within images and other objects. Ashgate.
[136]
Marks, E. 1990. Synaethesia: Perception and Metaphor. Aesthetic illusion: theoretical and historical approaches. W. de Gruyter. 28–40.
[137]
Mason, Peter 2001. The lives of images. Reaktion.
[138]
Mason, Peter 2001. The lives of images. Reaktion.
[139]
Matthews, M. 2014. Repatriating agency: Animacy, personhood and agency in the repatriation of Ojibwe Artefacts. Museums and Restitution: New Practices, New Approaches.
[140]
McCarthy, Conal 2007. Exhibiting Māori: a history of colonial cultures of display. Berg.
[141]
McMaster, G. 1999. Chapter 5: Towards an Aboriginal art history. Native American art in the twentieth century: makers, meanings, histories. Routledge. 81–96.
[142]
Meikle, Jeffrey L. 1995. American plastic: a cultural history. Rutgers University Press.
[143]
Meskell, L. 2004. Object lessons from Modernity. Object worlds in ancient Egypt: material biographies past and present. Berg. 177–219.
[144]
Michaels, Eric et al. 1994. Bad Aboriginal art: tradition, media, and technological horizons. University of Minnesota Press.
[145]
Mitsuo Inoue 1985. Space in Japanese architecture. Weatherhill.
[146]
Morphy, H. 2009. Art as a Mode of Action: Some Problems with Gell’s Art and Agency. Journal of Material Culture. 14, 1 (Mar. 2009), 5–27. https://doi.org/10.1177/1359183508100006.
[147]
Morphy, H. 2007. Art Theory and Art Discourse across Cultures. Becoming art: exploring cross-cultural categories. Berg. 141–167.
[148]
Morphy, H. 2007. Style and Meaning: Abelam Art through Yolngu Eyes. Becoming art: exploring cross-cultural categories. Berg. 111–141.
[149]
Morphy, Howard 1998. Aboriginal art. Phaidon.
[150]
Morphy, Howard 1991. Ancestral connections: art and an aboriginal system of knowledge. University of Chicago Press.
[151]
Morphy, Howard 1983. Now you understand : an analysis of the way the Yolngu have used sacred meanings to retain their autonomy. Aborigines land and land rights . 110–133.
[152]
Morphy, Howard 1989. From Dull to Brilliant: The aesthetics of spiritual power among the Yolngu. Man. 24, 1 (Mar. 1989).
[153]
Morphy, Howard and Perkins, Morgan 2006. The anthropology of art: a reader. Blackwell.
[154]
Mossman, S. T. I. 2008. Fantastic plastic: product design + consumer culture. Black Dog.
[155]
Munn, N. 1973. The Spatial Presentation of Cosmic Order in Walbiri Iconography. Primitive art & society. Oxford University Press for the Wenner-Gren Foundation for Anthropological Research. 193–220.
[156]
Munn, Nancy D. 1973. Walbiri iconography: graphic representation and cultural symbolism in a central Australian society. Cornell University Press.
[157]
Munn, N.D. 1992. Qualisigns of value: gardens, food and the body. The fame of Gawa: a symbolic study of value transformation in a Massim (Papua New Guinea) society. Duke University Press. 74–104.
[158]
Munn, N.D. 1966. Visual Categories: An Approach to the Study of Representational Systems. American Anthropologist. 68, 4 (Aug. 1966), 936–950. https://doi.org/10.1525/aa.1966.68.4.02a00050.
[159]
Murphy, H. 1992. Aesthetics in a cross-cultural perspective: some reflections on Native American basketry. 23, 1 (1992), 1–16.
[160]
Myers, F. 2004. Social Agency and the Cultural Value(s) of the Art Object. Journal of Material Culture. 9, 2 (July 2004), 203–211. https://doi.org/10.1177/1359183504044373.
[161]
Myers, F. 2005. Some properties of art and culture: ontologies of the image and economies of exchange. Materiality. Duke University Press. 88–117.
[162]
Myers, Fred R. 2002. Painting culture: the making of an aboriginal high art. Duke University Press.
[163]
Noever, Peter et al. 2008. Formlose Möbel =: Formless furniture. Hatje Cantz.
[164]
Norman, Donald A. 2002. The design of everyday things. Basic Books.
[165]
Norris, L. 2010. Adding value: recycling and transformation (chapter 6). Recycling Indian clothing: global contexts of reuse and value. Indiana University Press. 141–174.
[166]
Norris, L. 2005. Cloth that Lies: The Secrets of Recycling in India. Clothing as material culture. Berg. 83–107.
[167]
Norris, Lucy 2010. Recycling Indian clothing: global contexts of reuse and value. Indiana University Press.
[168]
O’Connor, K. 2011. Dupont’s Family of Fibres and the Birth of Lycra (chapter 3). Lycra: how a fiber shaped America. Routledge. 54–83.
[169]
O’Connor, Kaori 2011. Lycra: how a fiber shaped America. Routledge.
[170]
Peltier, Philippe et al. 2006. New Ireland: art of the South Pacific. Musée du Quai Branly.
[171]
Philips, R. 2011. From harmony to antiphony: the indigenous presence in a (future) Portrait Gallery of Canada. Museum pieces: toward the indigenization of Canadian museums. McGill-Queen’s University Press.
[172]
Pinney, Christopher and Thomas, Nicholas 2001. Beyond aesthetics: art and the technologies of enchantment. Berg.
[173]
Pinney, Christopher and Thomas, Nicholas 2001. Beyond aesthetics: art and the technologies of enchantment. Berg.
[174]
Rampley, M. 2005. ART HISTORY AND CULTURAL DIFFERENCE: ALFRED GELL’S ANTHROPOLOGY OF ART. Art History. 28, 4 (Sept. 2005), 524–551. https://doi.org/10.1111/j.1467-8365.2005.00475.x.
[175]
Rampley, M. 1998. Creativity. The British Journal of Aesthetics. 38, 3 (July 1998). https://doi.org/10.1093/bjaesthetics/38.3.265.
[176]
Rathje, William L. and Murphy, Cullen 1992. Rubbish!: the archaeology of garbage. HarperCollins Publishers.
[177]
Rio, K. 2005. Discussions around a sand-drawing: creations of agency and society in Melanesia. Journal of the Royal Anthropological Institute. 11, 3 (Sept. 2005), 401–423. https://doi.org/10.1111/j.1467-9655.2005.00243.x.
[178]
Ryan, Allan J. 1999. The trickster shift: humour and irony in contemporary native art. University of Washington Press.
[179]
Schuster, Carl and Carpenter, Edmund Snow 1996. Patterns that connect: social symbolism in ancient & tribal art. Harry N. Abrams.
[180]
Scoditti, Giancarlo M. G. 1990. Kitawa: a linguistic and aesthetic analysis of visual art in Melanesia. Mouton de Gruyter.
[181]
Seriff, Suzanne et al. 1996. Recycled, re-seen: folk art from the global scrap heap. Harry N. Abrams.
[182]
Seriff, Suzanne et al. 1996. Recycled, re-seen: folk art from the global scrap heap. Harry N. Abrams.
[183]
Severi, C. 2016. Authorless authority: A proposal on agency and ritual artefacts. Journal of Material Culture. 21, 1 (Mar. 2016), 133–150. https://doi.org/10.1177/1359183515622837.
[184]
Severi, C. 2002. Memory, reflexivity and belief. Reflections on the ritual use of language. Social Anthropology. 10, 1 (2002), 23–40. https://doi.org/10.1111/j.1469-8676.2002.tb00044.x.
[185]
Shonibare, Yinka et al. 2004. Yinka Shonibare: Double Dutch. Museum Boymans Van Beuninhen.
[186]
Skinner, D. 2008. The Carver and the Artist. The Carver and the Artist. Auckland University Press. 1–15.
[187]
Smart, P.G. 2010. Sacred modern: faith, activism, and aesthetics in the Menil collection. University of Texas Press.
[188]
Sperber, Dan and Morton, Alice L. 1975. Rethinking symbolism. Cambridge University Press [etc.].
[189]
Stanley, Nick 1998. Being ourselves for you: the global display of cultures. Middlesex University Press.
[190]
Steedman, C. 2001. What a rag rug means. Dust. Manchester University Press. 112–142.
[191]
Strasser, Susan 1999. Waste and want: a social history of trash. Henry Holt.
[192]
Strathern, Marilyn 1999. Property, substance and effect: anthropological essays on persons and things. Athlone.
[193]
Summers, D. 1993. Form and Gender. New Literary History. 24, 2 (1993), 243–271.
[194]
Susanne Kuchler 2009. Tivaivai. British Museum Press.
[195]
Sutton, Peter et al. 1989. Dreamings: the art of aboriginal Australia. Viking, published in association with the Asia Society Galleries, New York.
[196]
Sutton, Peter et al. 1989. Dreamings: the art of aboriginal Australia. Viking, published in association with the Asia Society Galleries, New York.
[197]
Svasek, Maruska 2007. Anthropology, art and cultural production. Pluto Press.
[198]
Taussig, M. 2008. Redeeming Indigo. Theory, Culture & Society. 25, 3 (May 2008), 1–15. https://doi.org/10.1177/0263276408090655.
[199]
Taussig, Michael T. 2009. What color is the sacred?. University of Chicago Press.
[200]
Thomas, N. 2001. Introduction. Beyond aesthetics: art and the technologies of enchantment. Berg. 1–12.
[201]
Thomas, N. 2001. Introduction to Beyond aesthetics : art and the technologies of enchantment. Beyond aesthetics: art and the technologies of enchantment. Berg. 1–12.
[202]
Thomas, Nicholas 1999. Possessions: indigenous art / colonial culture. Thames & Hudson.
[203]
Thompson, M. 1979. Art and the ends of economic activity. Rubbish theory: the creation and destruction of value. Oxford University Press. 103–130.
[204]
Townsend-Gault, C. 2004. Circulating Aboriginality. Journal of Material Culture. 9, 2 (July 2004), 183–202. https://doi.org/10.1177/1359183504044372.
[205]
Trilling, James 2001. The language of ornament. Thames & Hudson.
[206]
Urton, Gary and Nina Llanos, Primitivo 1997. The social life of numbers: a Quechua ontology of numbers and philosophy of arithmetic. University of Texas Press.
[207]
Wagner, M. 2007. Hans Haacke’s earth Samplings for the Bundestag: Materials as Signs of Political Unity. Journal of Material Culture. 12, 2 (July 2007), 115–130. https://doi.org/10.1177/1359183507078120.
[208]
Wagner, Monika 2001. Das Material der Kunst: eine andere Geschichte der Moderne. Beck.
[209]
Wagner, Roy 1981. The invention of culture. University of Chicago Press.
[210]
Wagner, Roy 1981. The invention of culture. University of Chicago Press.
[211]
Washburn, Dorothy K. and Crowe, Donald W. 1988. Symmetries of culture: theory and practice of plane pattern analysis. University of Washington Press.
[212]
Weiner, J.F. 1995. Technology and techne in Trobriand and Yolngu art. Social Analysis. 38: Too Many Meanings: A Critique of the Anthropology of Aesthetics, (1995), 32–46.
[213]
Welsch, Robert L 2002. Introduction: changing themes in the study of Pacific art. Pacific art: persistence, change and meaning. University of Hawaiʻi Press.
[214]
Wengrow, D. 2010. What makes civilization?: the ancient Near East and the future of the West. Oxford University Press.
[215]
Were, G. 2010. Tangents: Pattern as the Fabric of Thought. Lines that connect: rethinking pattern and mind in the Pacific. University of Hawaiʻi Press. 132–152.
[216]
Wigley, Mark 2001. White walls, designer dresses: the fashioning of modern architecture. MIT Press.
[217]
Wigley, Mark 2001. White walls, designer dresses: the fashioning of modern architecture. MIT Press.
[218]
Wypijewski, J. et al. 1997. Painting by numbers: Komar and Melamid’s scientific guide to art. Farrar Straus Giroux.
[219]
Young, D. 2006. Chapter 11: The colours of things. Handbook of material culture. SAGE. 173–185.
[220]
YOUNG, D. 2011. Mutable things: colours as material practice in the northwest of South Australia. Journal of the Royal Anthropological Institute. 17, 2 (June 2011), 356–376. https://doi.org/10.1111/j.1467-9655.2011.01684.x.
[221]
Young, D. 2005. The Smell of Greeness – Cultural Synaesthesia in the Western Desert. Etnofoor. 18, 1 (2005), 61–77.
