The Copy without the Original

Ethnography brushed up against its paradoxical death in 1971, the day when the Philippine government decided to return the few dozen Tasaday who had just been discovered in the depths of the jungle, where they had lived for eight centuries without any contact with the rest of the species, to their primitive state, out of the reach of colonizers, tourists, and ethnologists. This is the suggestion of the anthropologists themselves, who were seeing the indigenous people disintegrate immediately upon contact, like mummies in the open air.

In order for ethnography to live, its object must die; by dying, the object takes its revenge for being “discovered” and with its death defies the science that wants to grasp it.

~ Jean Baudrillard’s Simulacra and Simulation

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Author: Dorothy R. Santos

Dorothy R. Santos is a writer, editor, curator, and educator whose research areas and interests include new media and digital art, activism, artificial intelligence, networked culture, and biotechnology. Born and raised in San Francisco, California, she holds Bachelor’s degrees in Philosophy and Psychology from the University of San Francisco, and received her Master’s degree in Visual and Critical Studies at the California College of the Arts. She is currently the managing editor for Hyphen magazine. Her work appears in art21, Art Practical, Daily Serving, Rhizome, Hyperallergic, and Public Art Dialogue. She has lectured and spoken at the De Young museum, Yerba Buena Center for the Arts, Stanford University, School of Visual Arts, and more. Her essay “Materiality to Machines: Manufacturing the Organic and Hypotheses for Future Imaginings,” has been published to The Routledge Companion to Biology in Art and Architecture in 2016. She serves as executive staff for the Bay Area Society for Art & Activism, board member for the SOMArts Cultural Center, and teaches at the University of California, Santa Cruz in the Digital Art and New Media department.

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