Tsing claims that her intent behind the project is not reactionary nor conservative but subversive. I find Tsing’s way of arguing for emancipating human imagination fascinating. Human beings are caught up in the narrative of progress accompanied by simplicity. From the other book, “The Dawn of Everything,” I realized that during human history as a species, its diversity disobeys the “development to complexity” and environmental determinism. For example, the assumption of linear progress gives birth to taxonomical terms for human society (e.g., bands, tribes, chiefdom, and civilization) that not only insufficiently but also inaccurately capture possibilities of human living in the past. In a word, our inability to imagine new ways of achieving equality is because we are confined in our superiority of being at the forefront of development. From the article, “At the precipice of time”, I came to know how the crystal palace, where the world exposition was held during the last century, reflects the age of equipoise that affords to erase the cultural particularity in the human development across the world. At that time, people who used spears for hunting were likely to be considered savages who were trapped in the past by Western society. To decolonize and de-patronize humans and human constructions, Tsing takes a step further to find assemblages of patchy rhythms that are delivered by wilderness and ruination. Nietzsche argues that human languages are anthropocentric in his article “On Truth and Lie in an Extra-Moral Sense.” Tsing seems to present that human imagination is anthropocentric due to its power of construction.<\/p>\n","protected":false},"excerpt":{"rendered":"
Tsing claims that her intent behind the project is not reactionary nor conservative but subversive. I find Tsing’s way of arguing for emancipating human imagination fascinating. Human beings are caught up in the narrative of progress accompanied by simplicity. From … Continue reading