Professional Documents
Culture Documents
Describing the interaction of places, times, languages, identities, cultural formats, dominant
and marginal narratives that characterize cultures in diaspora requires a
multidimensionality that traditional maps n o longer meet.
In today’s world, we “map” diasporas through digital narratives, and often perform
culture as archivists and curators.
In this course, students will work with the cultural objects held in The Magnes
Collection of Jewish Art and Life, including art, material culture, books, manuscripts,
digital assets and data, learning to conduct collaborative research and documentation, to
create maps and narratives, and how to curate, perform and publish their findings in
museum galleries and online.
Each week in the semester combines critical approaches and orienting texts with the
exploration of a variety of tools and cultural practices.
In-Class Activities:
❏ Review the Syllabus and ask Questions!
❏ Exhibition-in-progress: Memory Objects
❏ Virtual Reality Archeology (with Google Cardboard - Google VR)
In-Class Activities:
❏ Object Handling Workshop, with Julie Franklin, Registrar, The Magnes
❏ Visit The Magnes: guided and self-guided tours of galleries, storage, and processing
areas, with Dr. Shir Kochavi, Assistant Curator, The Magnes
Resources:
❏ Charles R. Garoian, “Performing the Museum,” in Studies in Art Education 42/3
(Spring 2001): 234-248
❏ Barbara Kirshenblatt-Gimblett, The Museum: a Refuge for Utopian Thought (2004)
⇒ Submit a 1-page (max 300 words) review of one of the resources listed above
via bCourses AND in class (on paper)
Resources:
❏ Jorge Luis Borges, “The Library of Babel” (1941), in Ficciones/Fictions (1944)
❏ Umberto Eco, The Name of the Rose (1980) [distant reading: search PDF on
bCourses for the words: “library” and “labyrinth”]
❏ The Name of the Rose (dir. Jean-Jacques Annaud, Italy-West Germany-France, 1986,
130’) imdb link (check bCourses on how to watch this movie AHEAD OF CLASS)
❏ Walter Benjamin, “On the Mimetic Faculty,” in Reflections (1933) [focus on p. 335]
⇒ Meet with Deputy Director, James Leventhal, at MOAD-Museum of the African Diaspora
moadsf.org by 2:50 PM (31 minutes from Berkeley Downtown BART)
Resources:
❏ Raymond Queneau, Exercises in Style ( 1947): 19-26
❏ J.S. Bach, Goldberg Variations, BWV 988 (1741): score and performance on YouTube
❏ Peter Williams, Bach: The Goldberg Variations, Cambridge UP 2001: “Introduction”
(pp. 1-13) and “Overall shape” (p. 35-39, and 45-50)
❏ Uri Caine, The Goldberg Variations (2000): performance on YouTube and CD notes
❏ Josh Kun, Audiotopia: Music, Race, and America, UC Press 2005: “Introduction” (pp.
1–28) Electronic Resource link (UCB access only)
In-Class Activity:
❏ “Mind mapping” software and platforms: research, evaluate, test
Resources:
❏ Jonathan Safran Foer, Everything is Illuminated (2002): read pp. 1-7; 59-62;
146-160; and also take a look at the “list” on pp. 197-213
❏ Everything is Illuminated (dir. Liev Schreiber, USA 2005) imdb link (check bCourses
on how to watch this movie AHEAD OF CLASS)
❏ Joshua Foer, Moonwalking with Einstein, 2011: Ch. 1, “The Smartest Man is Hard to
Find”; Ch. 2, “The Man Who Remembered Too Much”; Ch. 5, “The Memory Palace”
❏ Ziv Schneider and Laura Chen, RecoVR Mosul (2015)
In-Class Activities:
❏ Memory, Objects, and Places: UC Berkeley History and discoveries and Campus map
❏ Plan Project Abstracts (due in class on 3.13.2019)
a. Topic/Thesis
b. Sources
c. Tools
d. Title
e. Subtitle
f. Delivery/Presentation/Publication methods
Resources:
❏ Carlo Ginzburg, “Clues: Roots of an Evidential Paradigm,” in Clues, Myths, and the
Historical Method (1986): 96–125
❏ Aby Warburg, Mnemosyne Atlas (1927): w arburg.library.cornell.edu
❏ Atlas Obscura: atlasobscura.com
Resources:
❏ T. Presner, D. Shepard, Y. Kawano, Hypercities: Thick Mapping in the Digital
Humanities (2014): 12-65 [Lexicon: 12-21; The Humanities in the Digital
Humanities: 22-65] and website companion: hypercities.com
❏ Map History/History of Cartography: maphistory.info
❏ Francesco Spagnolo and The Magnes, Jewish Digital Narratives project
Resources:
❏ Igor Kopytoff, “The Cultural Biography of Things,” in The Social Life of Things:
Commodities in Cultural Perspective ( 1986): 64–90
❏ Bill Brown, “Thing Theory,” Critical Inquiry 28/1 (Autumn, 2001): 1-22
In-Class Activity:
❏ Object handling refresher
❏ Present and discuss Project Abstracts (begin working with sources!)
Resources:
❏ Walter Benjamin, “Unpacking my Library. A Talk About Book Collecting,” in
Illuminations, Schocken, New York 2007: 59-67
❏ Jacques Derrida, “Archive Fever. A Freudian Impression,” Diacritics 25/2 (Summer
1995): 9-11; 61-63
❏ Visual Resources Association. CCO Commons: Cataloging Cultural Objects: A Guide
to Describing Cultural Works and Their Images. American Library Association Editions
2006: 3-40; 48-50 http://cco.vrafoundation.org
In-Class Activity:
❏ Work with archival materials from The Magnes (Shanghai collections)
Resources:
❏ Gershon Zilberberg and Jennifer Breger, "Printing, Hebrew," Encyclopaedia Judaica.
Berenbaum and Skolnik eds. 2nd ed. Vol. 16. Detroit, Macmillan Reference USA,
2007: 529-540 (Gale Virtual Reference Library link, UCB access only)
❏ Footprints. Jewish Books Through Time and Place: footprints.ccnmtl.columbia.edu
In-Class Activity:
❏ Work with rare books and manuscripts from The Magnes (India collections)
Resources:
❏ Georg Simmel, “The Handle,” The Hudson Review 11/3 (Autumn 1958): 371-378
❏ Leora Auslander, “Jews and Material Culture.” in The Cambridge History of Judaism,
ed. by Mitchell B. Hart and Tony Michels, 8, Cambridge: Cambridge University Press,
2017: 804–30
In-Class Activity:
❏ Work with art and material culture from The Magnes
❏ Regularly attend class meetings and be on time. (Unexcused absences will affect
your grade).
❏ Be prepared ahead of time for all lectures and activities: be thoroughly familiar with
all assigned resource materials, ready to discuss them, and to ask questions.
❏ Participate in all class meetings actively and critically (physical presence does not
qualify as class participation).
❏ Complete all assignments on time. Late work will not be accepted unless you have
received a written confirmation by the instructor prior to the assignment deadline
All projects will involve a certain degree of writing, but also draw on other skills. The
starting points of these assignments are found more often than not in your Syllabus: read
it thoroughly! Choose a topic/project that speaks to you, in terms of content as well as the
form in which you choose to deliver your work. Students are free to find different learning
paths: consulting with the instructor (during office hours) will help you to focus on your own
interests, expand your research tools, and learn how to most effectively manage the
resources offered by the course, along with others available through the University Library.