English

Abdel Hernandez San Juan

Anthropology of Archaeology

A Perspective from Ethnometodology and cultural anthropology

Selected Essays V

writings in theoretical research

Western thought

Free school for advanced studies in hard sciences

Western thought

Author: ©Abdel Hernandez San Juan

The author rights of this book belong to Abdel Hernandez San Juan, its author, writer and composer

Title: Anthropology of archaeology

Type of Work: Literary of theoretical essays/book
Destination: Readers of writing and literary books, Books Storages and Books Libraries
Sides of Covered and Print Publications Sides: 22.5 cm x 15 cm
Number of Pages: 200, Reproduction: from 1 to 5000 exemplars, Covered Conservation and Protection Sides: 21.59 cm x 27.54 cm, Covered Lectures Sides: 21.59 cm x 27.54 cm

Contents

Chapter I-The Equinox Film. By Abdel Hernandez San Juan

Chapter II-The Markets of Maya Culture: Maya Art in Ancient Tradition at the University of Houston Campus.

Chapter III-Ah Dzib Pízté Exhibit: A Perspective from Ethnometodology and Cultural Anthropology/The Visual Expression of fieldwork: Quetzil Eugenio. By Abdel Hernandez San Juan

Chapter IV-Ah Dzib Pízté Exhibit: Exploring Interdisciplinary Displays/Workshop and Exhibit at Duran Gallery©By Abdel Hernandez San Juan

Notes

References

Bibliographies

The Equinox Film.

©By Abdel Hernandez San Juan

This paper discusses the Quetzil Eugenio film on the event of que Equinox Incidents of Travel as a film that challenged the conservative and or traditional stereotypes on ethnography and ethnographic films. Discussing the film as the textual whole composed by relations between textual and visual forms defined by sequences to offer a representation of culture, the paper discusses how the film Instead of focusing by the massive codified, archives collected and or archaeologically recognized icons of visual culture

around stereotypical etnographic motives such as near close ups of codices, icons, signs or symbols of ancient visual culture opened the frame to the surrounding environment around the equinox as an event itself defined by the meeting of tourism, streets markets vendors, museum agents, community member, the museum and the archaeology monumentary zone as well as himself as anthropologist around the pyramids and ruins of chichen itza. The paper discusses how the film should be theorized by the correlation between two concepts of performativity, the performativity of research of Quetzil himself as anthropologist moving etnographic film to the field of anthropology of tourism eliciting a research on culture include himself camera and eye trapped in the event situation and the film as a text on culture composed by a variety of perspectives interviewing the several actors and the performativity of culture this way to compose the film showed as an elicited dimension, on how the actors of the event are performing images of themselves

Keywords: anthropology film, out of etnography stereotypes, anthropology of tourism, fieldwork and the event, performativity of research, performativity of culture

    A film is a visual and textual whole as a product with a duration and a composition. It is visual because its sequences are made up of filmed shots and frames of a given reality in which bodies, images and presences move and it is textual because it generally includes alphabetic language in the form of speech acts, people speaking or in the form of graphic texts that can be included and read. Between one thing and another, the relationship between the visual and the textual also creates textual relationships resulting from the meanings and senses that arise from superimposing and relating the purely visual and the alphabetic. Taken to the silent, the sole visual composition without alphabetical text is generally itself legible according to presuppositions accumulated in the viewer's heritage about the life world.

    In addition to this, however, a deliberation is expected from an anthropology film according to which this relationship between the visual and the textual offers in the product as a whole a representation or a research on a certain theme or culture that is the object of that film. film.

     From an anthropology film about the equinox, the same archaeological and ethnographic event developed around the pyramids, ruins and monuments of Machu Pichu in Mexico, there are therefore relatively standardized assumptions about how or in what type of form the possibility of that it was a film on that topic.

     By placing as a previous reference what usually makes up a film in textual terms in its visual and alphabetical whole, as well as what the expectations about anthropology films usually are, I propose to discuss an anthropology film about the equinox Incidents of Travel by Quetzil Eugenio that recently We have seen, paying attention to how the relationship between the textual and the visual is deliberate, understood in terms of the filmic whole, on the one hand, and above all, how that filmic whole as a textual discourse about its referent, the event of the equinox , arranges or resolves to deal with the relationship between the parts or elements that compose it, relative this time to the culture in question, its theme, and the ways in which the relationship of that filmic whole as a referential textual form with the idea that will be made is deliberate. spectator about the whole of culture or the equinox event that is its theme.

   To focus my theorizing I will discuss from sociology and anthropology what I have called performativity of research, doing both things, demonstrating in my theorizing how Performativity can work in meta-anthropological and meta-ethnographic research, that is, in my own theorizing and discourse in Anthropology. film Theory his film, at the same time in relation to situating issues of Performativity discernible in Quetzil's own film in terms of how he resolves the relationship between the textual and visual whole that his film proposes with respect to what would be expected from a film about the equinox and the culture to be represented in question.

   Composed based on different perspectives on its theme, the event of the equinox, I propose to finally discuss how the oscillation of various perspectives that make up the film achieves a form of elicitation which elucidates how Performativity was also in the culture, that is, the fact that each of these perspectives with which the film is composed and that it elicits are themselves ways in which the parties in relation, tourists, street vendors, museum caretakers and museum authorities perform images of themselves.

  We therefore have, in relation to Quetzil's field work, the elucidation of two concepts of Performativity, one that refers to what I have called Performativity in the forms of research given in the eliciting exploration that his film achieves with respect to its theme, the event. of the equinox, and the other relative to the fact that we are referring to a cultural reality which is made up of the relationship between a museum, an archaeological park related to the implicit programming of that museum, the monumental area, tourism, market vendors that this generates and the culture with its communities, although they tend to remain separated in conventional representations, they are inclusive of each other and to the same extent they perform the images of themselves between what is not usually said and the inevitable fact of that are related to each other and are inclusive.

   The way in which these two forms of Performativity are related, one relative to the form of research that Quetzil's film develops and elicits, and the other, relative to the Performativity that was in the culture, I would like to discuss as the main characteristic of Quetzil's film. Quetzil placing them against what he argued before would be expected or obvious with respect to what an anthropology film on this topic would offer its audience as a textual and visual whole.

    As is obvious, the options and possibilities that would have been expected as usual in a film about the equinox would not have been few, but despite this, almost always or most of the time they could be referred to the idea of ​​a film that would deal with only close, detailed and meticulous shots of the pyramid understood as a monument, which went from those close shots and close ups to ancient archaeological texts in close-up, scrolls and manuscripts, or inscriptions on material obtained in archives or filmed directly in the pyramids or museums, on the history of the pyramid or on its physical characteristics as well as informative material on its origin and antiquity in the recurrence of data obtained in the same museum of Mayan culture on the equinox, the filming of direct iconographic visual material on the reasons why the snake is related to Mayan mythology and why it occurs that day, at that time, that year as what defines the event, among other narratives related to the images and myths related to it by previously archeology. published and museographed.

  By placing the above as a usual expectation of the precepts about what or how an anthropology film about the Equinox should be, I propose to contrast how Quetzil's film explores other possibilities outside the usual and well-known stereotypes, that is, that Unlike a documentary of this type that focuses on repeating in order to disseminate the same parameters known about the visuality of the Mayan culture iconographically related to the pyramid and the equinox event, Quetzil's film avoids positioning itself on the side of the narratives provided in catalogues, books, museography and information material throughout the museum, to experiment with other avenues.

  He thus avoids the archaeological material he himself gathered in this regard directly or in reference to his research on other archaeologists, in order to, in turn, situate himself in a perspective that focuses on the event itself understood as a meeting in a performance. spatial scene the various actors that make it up, that is, on the one hand, the tourist who comes mainly from the United States, but also from Mexico itself and other parts of the world, well attracted by the tourist market of options, cultural tourism in this case, either for being someone interested in the Mayan culture for spiritual, mystical, religious reasons or for simple appreciation of a cultural reality, the Mexican and the Mayan of the communities in which the archaeological park is located with its expression given in the fact that the event provides an opportunity for the free market that supplies it, sale of artifacts, handles, collages, accessories, outfits, images, etc., related to the west and the visual theme and the personnel directly related to the museum and its programming , that is, the museum authorities as well as the personnel assigned to care for and protect the archaeological park.

  By focusing attention on the event itself as a meeting of all these actors, and not on the text that makes up the symbolic and archaeological narratives of an iconographic and visual type about the monument and its relationship with an archival or museographic textuality instituted by the museum, Quetzil elicits a way of constructing the textual and visual whole that his film will offer to his audience regarding culture and specifically the equinox, which as a whole will be a composition with all these fragments of points of view and perspectives At the same time, it will mean making visible his very way of being as an anthropologist in the culture and in the situation.

  He therefore decides to place his camera as a camera welcomed by the circumstances of the event itself, that is, as much as possible a camera overwhelmed and absorbed by its own dynamics in situ, a camera that is not placed with a pre-established script, we will do this and then that, but surrounded by what is happening and itself forming part of that situation, it begins to ask questions from it and in front of it, it is a camera which could be the camera of any tourist or person among the aforementioned perspectives, among other things because the questions themselves do not turn out to be overintentional but are limited to mundane things given in the same situations.

    The event as such presupposes of course the fact that all the actors recognize themselves to be there only and only because the event takes place and in the same way that it is an event for them that explains their presence, also only the event explains the from Quetzil, so it is a camera that tells you, like you, I am here in the event that surrounds us, and for the same reason that all this makes some sense to you, I am interested in knowing what it is. all this and what it means to you which also makes me here, the center of my attention is the event that makes both you and me here

  In the same way that Quetzil's ways of being in the culture and in field work in the communities of Yucatán and Pizte come from the beginning mediated by the fact, decided by Quetzil, that he is not doing research on the community , but that it is studying how the archeology museum has produced textual and visual forms about culture, and how other anthropologists have done it, and what it is to study the museum, its programming, its events and its textualities, which What makes him then be in the communities and start doing projects in them, from them and with them, in this film the event as a third instance mediates Quetzil's relationship with the actors that make up the event, including himself, that is, , which in terms of intersubjective give and take, putting emphasis on a third instance that involves the actors, including Quetzil, as a situation, thus eludes the emphasis on the relationship between anthropologist, culture, anthropologist, community, represented representative, observed observer, we the others, to in turn explore other forms and possibilities through which all those concepts are rearticulated.

   This analysis of the way of being in the culture in itself then explains in what other ways its study is carried out and the field work of Quetzil is developed in its relationship to those interrelated elements, community, culture, archaeological park, museum, tourism. , markets

  What has been said ultimately has a consequence already on the textual level of the film, not only in terms of how to put in the visual scene the references to the event and to himself as an anthropologist in it, but above all in the characteristics of that filmic whole. as a textual form for an audience that, faced with a film about the equinox, receives a material which, far from offering a single totalizing perspective like that authorized on culture by the anthropologist, experiences a mosaic of multiple perspectives that are sometimes interrelated. but not infrequently very different from each other

  We therefore do not have the text about the museum of Mayan culture, not the text about the equinox event that the museum would have given from itself, but the text about the equinox event that is formed between what the tourist says, what says the street vendor, what the caretaker of the pyramid says and what the authority of the museum says, none of them is, nor is Quetzil, above the situation itself that defines an event as a whole given by hundreds of thousands. of people and characterized as an event between day and night due to the equinox: an event defined by the fact that at a certain time of day, that day of that year, hence its tourist attraction, the shadow of the snake is projected on the pyramid, a fact that establishes a significant anthropological and ethnographic attraction since we are facing an event that what makes it an event is its archaeological and ethnographic content itself.

  What I find most fascinating about Quetzil's film is this way in which he has performatively focused a third instance on the event of the equinox as the one that explains how anthropologist and culture are in relationship. In this sense, it is necessary to reiterate that as a cultural object, this instance, the event of the equinox, is already a sufficient ethnographic reference with respect to which a conventional or conservative conception of ethnography would have been limited to the visual and textual data in Mayan mythology without centering His attention, on the contrary, is on what Quetzil does, far from the pyramid itself as an iconographic motif, the event itself that around it encourages the gathering of the actors, including himself.

   Quetzil thus establishes that, overwhelmed by the situation of the event, his very presence as an anthropologist is integrated and part of a situation in which everyone has their attention on the same event that makes them be there in relation.

  This fact, notably, and for reasons of what I define as Performativity in the research, then defocuses attention on the same ethnographic reference that makes the event to in turn open to the diameter of everything that is around, tourists, Mexicans, Mayans. , vendors, market, archaeological park, museum, programming, cultures so that if Quetzil in ethnographic writing returned to the pyramid and the equinox as a topic of focused research, he would no longer do so as for the first time, but rather he would return to Once his research on the equinox assimilated in his film the relationship between all these actors, it imbues his anthropology with a notable character that is both urban and the anthropology of tourism in a way through which an exceptional balance is achieved between anthropology of archeology and ethnography at most, drawing attention to the temporality and spatiality of the event rather than to the equinox in its iconographic and visual proximity, is also a way of situating that the spatiality and temporality of an event It can itself be the spatiality and temporality of fieldwork or of a part of fieldwork, this relationship between ethnography and the event, on which we unusually agree since months before I had written my essay The Eclipse of Evocation in which theorized that ethnography should be the event of unlimited field work, acquires relevance in terms of what I have called with respect to Quetzil the oscillation in ethnography, the encounter with the material some time later in editing so that The fieldwork setting elicits things with respect to which we do not yet have a precise predetermination of what we will do, but the form or mode of eliciting it offers the appropriate material for a writing, in this case a film, that articulates the elements. in relation to which anthropology on the equinox can be at the same time about the ethnographic specificity of the equinox in the archaeological text of the Mayan culture, at the same time as about the museum, as I said before, inside and outside, that is , an anthropology that is at the same time theory of the archaeological museum, anthropology of tourism and culture.

    At the same time, it is worth highlighting that it is a casual, desacralizing camera,

    From the event, a film would be supposed to do what it said at the beginning, while this camera has desacralized all of this in favor of what the actors themselves have to say. At the same time, it is establishing a type of intersubjective give and take that does not enter into reality. of the event as something exogenous but is discouraged from being part of it, the distraction about the fact that a single perspective will be dominant, places the fact that each perspective develops in conditions of a certain unpredictability about the whole, the activities in question that develop around it and the image that is given about it.

  In this way, far from offering us visual and textual material from which we hope that as a film whole it will produce a definitive text or once and for all considered the text on the equinox, Quetzil avoids establishing the film from a position of totalization of the text. of the equinox that would be expected and dissuades his own point of view, making it easier for the film itself to collect all the ambiguities, contradictions, interrelations, paradoxes, points of view, etc., of those same actors.

  This perspective, which itself involves the elicitation as a form of field work of a variety of perspectives, ensures that in the end the film as a visual textual ensemble about the culture that has an event at its center is established as a type of text in the oscillation which from the relationship between his own presence as an anthropologist at the event, the camera, and the different perspectives, results in a mosaic of juxtaposed points of view whose superpositions do not always and in reality rarely draw a whole on the text of culture to instead elicit an analysis of how these different perspectives simultaneously relate and differ, become inclusive of each other, or distance themselves, forming together, thanks to the elicitation that his film fosters, an interpretation rather complex and at the same time rich in the subject in question.

  It is about the fact that the forms such as the different parties at play, the caretakers cleaning the museum monuments, the tourists waiting for the setting of the serpent spread out on the ground with their food and utensils of travel and life, the vendors of handicrafts, art, utensils of various types and foods, the Mexican and Mayan exponents of the communities, and the museum authorities, all of whom Quetzil was progressively interviewing throughout his film, not only spoke from their perspectives, but rather they reinvented themselves something that implies what I said before about how two performativities are related in the film, that of Quetzil as an anthropologist in relation to how he resolves to deliberate his film on the equinox, and that other understood as a performativity that It was already there in the culture.

   In short, social actors know themselves when faced with an event about which there is not only an entire literature and an entire visual and textual practice that draws attention to it, as in fact also occurs in any event, even of entertainment, from which this is not exempt as it involves recreation, preferences, enjoyment and reveling in something, but above all they know that the event is made up of all these perspectives and although the usual point of view would tend to keep them separate, this does not does nothing other than hide what we all know but never talk about, that the event itself consists of the fact that each of the different parts makes inclusive to its perspective the fact that the other parts are inclusive to his own, the street vendor needs the tourist to sell his artifacts and therefore it would be naive to assume that he sells an artifact that is not intended for that tourist, the tourist knows he is a visitor who is attracted by the event and the culture, but to the same extent he knows that collecting an image of everything is part of the image that the culture makes of itself as it is also part of the image that he makes of himself and that his culture makes of him, the museum a textuality is known that makes itself inclusive that there are tourists and that there is a market and that there are communities in its programming and that the event as such, in addition to market and entertainment, supposes these relationships raised by the programming, for all this Performativity that it was in the culture that the materials on the equinox usually ignore or do not notice about it and which is usually not put in the foreground or simply unknown and not analyzed, is an element brought to the foreground by Quetzil's film.

    Ethnography, as I have been arguing for some time, is changing or will change through the same means or meanings that it has in itself and not in the form of obsessing over the greater or lesser political effectiveness of the texts. that he invents, on the contrary, opening ethnography towards his own performance and towards his own Performativity.

   I have discussed this relationship between two performativities before, Performativity in research that defines the methodology of the way of doing field work and composing textual anthropology or textual ethnography as a product, on the one hand, that which oneself develops in the theorization and in the works, and on the other hand, the Performativity that was in the culture which, if it is ignored or not taken into account, the culture itself cannot be studied, known, understood and objectified in its true dimension because Performativity in Research becomes no longer necessary but imminent and essential when we study phenomena in culture, themselves exemplary about Performativity in culture.

  It is therefore about locating how two concepts of Performativity were related in Quetzil's film, one, that related to Quetzil's film practice, the way in which his film was placed in the culture around the event as a form of Performativity in the research, and Performativity that other thing that was already in the culture and that is made explicit in how the actors reinvent themselves,

   If Quetzil had not conceived his film in the way he did, it would not have been possible to elicit these different perspectives or to construct a visual and textual whole about the culture that, situated in the situation of the event, would offer that superposition of perspectives that I call in terms of everything that it evokes about culture, like mosaics, hence the perspective given in the research that the film on the one hand complexes in itself and on the other elicits for the theorization of both things the film and the culture, but at the same time , also the mode of his film makes it possible to visualize that

   Because you are standing here, for example, the caretaker of the pyramid

  Do you make sure they don't touch? Do you take care of cleaning? Where can people go?

  You are from here? of this community? Or are you also an employee of the museum?

  And you sitting here, how are you doing, when does the snake come out?, the type of questions asked to a group of tourists who spread their tablecloths on the floor to sit around with their belongings on the tablecloth, while they talk and wait.

  And where have you come from? If you are from the United States, yes, but what part are you from?

      Did you know about this before? Do you like the event?

  Had you already seen it last year? And why have you come back?

  And why do you wear those Mayan outfits on your body? Aren't you from Chicago? Oh, because you've been there before, or you've just bought it.

  The questions that I have placed before are not directly taken from the film, they are not exactly the questions asked by Quetzil, they are only in the sense of Weber and Shurtz, ideal types of questions which contain very well as reconstructive parameters the modalities of the forms of questions explored by Quetzil, the type of relationship implicit to the intersubjective give and take that he explored with this film. That is to say, with them I am interested in situating and objectifying, through an ideal type, the way and attitude in the way of approaching people, which makes it notable about how Quetzil was with the camera at the event, in what way The type and modality of their questions implied for the actors or implied a way of understanding why and with what attitude that camera was there.

references

  1997- The Equinox Film: A Perspective from sociology and anthropology. By Abdel Hernandez San Juan, Lecture discussed at the panel on the equinox Film of Quetzil Eugenio and Jeff Impele, a panel coordinated and introduced by Quetzil Eugenio, professor of anthropology of the university of Houston, with conferences by Abdel Hernandez San Juan, theoretician, complimentary research associate anthropology faculty at rice university and George Marcus dean of rice university faculty of anthropology, Anthropology Faculty, The University of Houston, Houston, Texas, USA

1998- Lab of Performativity and Ethnography. By Abdel Hernandez San Juan, series of Abdel Hernandez San Juan conferences of his theoretical Lectures, a programs of his USA Cities Travels such as New York, san Francisco, Berkeley, louisiana, a program of his individual ethnometodological research, ethnography and performativity, fieldwork in usa and two series of theoretical dialogues Threshold between Abdel Hernandez San Juan and Stephen A Tyler and Ethnographies after ethnography. By Abdel Hernandez San Juan and George Marcus, with the participation of Abdel guest Quetzil Eugenio, professor of anthropology of the university of Houston, and faculty participants printed poster program, ocre Kraft paper colour, printed by bubu, The Circle of the Lake, directed and coordinated by Abdel Hernandez San Juan, Rice University, Houston, Texas, USA

Bibliography

Eugenio, Quetzil The Invisible theater of Ethnography: Performative Principles of Fieldwork, The Open School of Anthropology and Ethnography, Anthropological Quarterly 79 (I)75-104, USA, 

Eugenio Quetzil, The Past as Transcultural Space: Using Ethnographic Installation in the study of Archaeology, the Open School of anthropology and Ethnography, and The University of Indiana, Public Archaeology: Archaeological Ethnographies, Vol.8 No, 2-3, 2009, 262-282, USA

Hernandez San Juan Abdel, The Intramundane Horizont, Hermeneutic and Phenomenology of Every Day Life: A Perspective from Phenomenological Sociology, complete works, tome VI, Book, 2017

Hernandez San Juan Abdel, Rethinking Urban Anthropology, Complete Works, Tome VII. Book, 2019

Hernandez San Juan Abdel, The Constellation of Common Sense: Sociology of common Sense and Anthropology Research Theory, Selected Essays, Tome VII, Book, 2019

Hernandez san Juan Abdel, Phenomenological Anthropology, selected essays, Tome VI, Book, 2018

Hernandez San Juan Abdel, The Thresholds of the Couple: Self-Ethnography in the First Person, Complete Works, Tome VIII. Book, 2019

Hernandez San Juan Abdel,The Equinox Film. Lecture discussed at the panel on the equinox Film, a panel coordinated and introduced by Quetzil Eugenio with conferences by Abdel Hernandez San Juan and George Marcus, Anthropology Faculty, The University of Houston, Houston, Texas, USA

Hernandez San Juan Abdel, Pierre Bourdieu, Conference Lectured at the Bag Lectures Main Room, 12.00 Am, Anthropology Faculty, Rice University, Houston, Texas, USA, 1998

Hernandez San Juan, Abdel Art Pizte Exhibit, lecture discussed at the Faculty of sociology and anthropology lectures auditorium on the exhibit by Abdel Hernandez San Juan and Quetzil Eugenio as co-curators at Duran Gallery, a travel from Houston to lake forest and a program coordinated by Quetzil Eugenio, assistance professor of anthropology of the lake forest college, discussed as part in a panel Maya art and anthropology with conferences by Abdel Hernandez San Juan, Alaka Wally, Stephen Eisenman, Richard Towsend, Quetzil Eugenio and Lisa Breglia, Lake Forest College Faculty of Sociology and Anthropology, Lake Forest, Illinois, EUA, 1999

Stephen A Tyler, Presenter (Dis)Play, published at The Creative Spirit 31.1 (1991): 122-130

The Markets of Maya Culture: Maya Art in Ancient Tradition at the University of Houston Campus.

©By Abdel Hernandez San Juan

   I would like to focus again on my concept of elicitation and its possibilities in cultural anthropology, discussing this time a practice whose motive was to elicit a setting of intercultural communications. In 1998 Quetzil Eugenio, then a professor in the anthropology department at the University of Houston, surprised both the anthropology scene and the university campus scene with an outdoor exhibition of what he defined as modern Mayan art in the Ancient tradition. .

    The idea of ​​displaying an open-air market on the university campus immediately overwhelmed me precisely because a few months earlier I had exhibited my work The Market from Here: Mise in Scene and Experimental Ethnography in the Sewall Hall Back Yard at Rice University, which, Although it was not a market in the literal sense of being there selling as the sellers would do and as Quetzil did at the University of Houston, it did establish all the parameters required to elicit that at the same time that a museum outside the museum could be also a market outside the market or a new form that acquired the type of markets in which I did field work and with respect to which the work was deployed in a significant percentage, its way of location, its construction materials, etc., as if it were a market.

  Quetzil's exposition, however, was much more direct in this, avoiding the textual or representational components of my ethnography, to in turn propose a way in which a market could be directly installed on the campus.

    The exhibition consisted of blankets, quilts, bedspreads, fabrics, paintings and wood carvings made by Mayan artists and displayed on a structure created to make their presentation sustainable.

    Displaying these artifacts not in a gallery or closed exhibition space assigned for samples, but in the open air near a pedestrian traffic area for professors and students, just by requesting permission from the university to do so, of course, had consequences on a series of ideological precepts about what it means to display, that is, common sense about what types of things usually could be displayed in the outdoor spaces of the campus.

    As a collateral transit area to gardens and green areas, the budget to be exhibited in such spaces are usually permanent sculptures placed in the manner of commissions established in advance in a university such as the one in Houston related to the state unlike a private rice university, but the same common sense that assimilated a permanent sculpture or at most a fountain in such spaces, had the evidence to deduce that an exhibition with these ephemeral characteristics, mountable and removable, could be a sales setting for those same Mayan artists who at the same time way in the popular markets they would be selling their artifacts, it was not, however, a live exhibition of the Mayan artists, but rather an exhibition that the anthropology professor gave about the art of those artists among whom he did work in Yucatán. field, thus eliciting a setting of intercultural communications since very similar, if not to say perhaps one of the first times in which Quetzil ventured into what has subsequently attracted more and more attention, his presentation generated people coming up and asking questions and therefore the same situations that Quetzil photographed and that themselves became of interest for the research, dialogues between his students and those who approached, unexpected dialogues with other professors or visitors to the campus.

  By displaying these artifacts on campus, Quetzil not only revealed a considerable part of its Mayan art collection and new objects and symbols directly gathered for the exhibition. There is also something in this Quetzil exhibition that I consider related to ethnographic surrealism and something that I have called ready mades in ethnography.

     The concept of ready made, used in art to make references to ways of decontextualizing and recontextualizing objects, has broader meanings in the vast field of culture as any way of moving things from one context to another, telling a story where they are not lived, memorizing fragments of something from another group to which what was memorized does not correspond, or moving things that once suppose a community and then audiences not related to that, is a continuous sin equanon in anthropology and ethnography, in a certain way there would be have to say that, although brought to the foreground by art, the readymade would have always occurred in ethnography and anthropology, bringing things about one way of life to insert them into another way of life, as Geertz said that he That alone would be enough, it is something that has always characterized it, but certainly doing it in the form of art objects offered for sale as in a Mayan market but out of their context, gives rise to an impression of ethnographic surrealism, Mayan masks on a university campus. Anglo-American.

    Despite this, the decontextualizing effect that, in the impression of students and teachers, made those Mayan artifacts a surreal impression of a cultural ready-made, did not completely make transpositions between cultural contexts as different as would have been supposed and in this I would like to refer to the theory of Alfred Shurtz on the relevance, certainly the photographs and films taken by Quetzil and his students documenting the unusual reactions of the people and the dialogues that were generated as settings for intercultural communications, had a very different effect if, far from seeing them on campus, the same social actors just a few kilometers down Westheimer Avenue would have visited Quetzil in his own home, where the same artifacts are then his own lifestyle, an anthropologist who lives surrounded by his Mayan world in everything, collection of Mayan art in the walls, ways to decorate and arrange your house, books, films, etc.

    I think that this is precisely what this exhibition was about, the exploration on the one hand of the effect of estrangement as a surreal readymade of one culture within another versus the relativization of it in the fact that it is about the images and artifacts that They make up the anthropologist's own lifestyle in Texas.

     There is also something in this of a healthy joiking without ulterior motives but related to a certain irony restoring ethical and cultural values ​​of interculturality that is a usual characteristic in Quetzil, the sense of a certain ethical humor that is part of the research because Quetzil resorts to it continually

   just to remember one day Quetzil showed up at my house in Houston unexpectedly and he was wearing black glasses but he had them misplaced as if they were falling off, the fact that he had them that way as if falling off and he didn't say anything to me as if it were normal for them to be So it was an anachronism and of course a game, when I see him arrive I ask him Quetzil, what are you doing with the black glasses on like that and he answers me with a question, don't you like taking heads?, and I said yes a lot so When he entered the house I served him a coffee and when he sat down I played Talking Heads music while we started talking.

Bibliography

Eugenio, Quetzil The Invisible theater of Ethnography: Performative Principles of Fieldwork, The Open School of Anthropology and Ethnography, Anthropological Quarterly 79 (I)75-104, USA, 

Eugenio Quetzil, The Past as Transcultural Space: Using Ethnographic Installation in the study of Archaeology, the Open School of anthropology and Ethnography, and The University of Indiana, Public Archaeology: Archaeological Ethnographies, Vol.8 No, 2-3, 2009, 262-282, USA

Geertz Clifford, The Moral Asymmetries of Ethnography, Pp, 154, Being There: Anthropology and the Scene of Writing, The Anthropologist as author, Stanford University Press

Geertz Clifford, Moral asymmetries in ethnography, Pp, 154, Being there, The Anthropologist as author, paidos

Hernandez San Juan Abdel, Rethinking Urban Anthropology, Complete Works, Tome VII. Book, 2019

Hernandez San Juan Abdel, The Intramundane Horizont, Hermeneutic and Phenomenology of Every Day Life: A Perspective from Phenomenological Sociology, complete works, tome VI, Book, 2017

Hernandez san Juan Abdel, Phenomenological Anthropology, selected essays, Tome VI, Book, 2018

Hernandez San Juan Abdel, The Thresholds of the Couple: Self-Ethnography in the First Person, Complete Works, Tome VIII. Book, 2019

Hernandez San Juan Abdel,The Equinox Film. Lecture discussed at the panel on the equinox Film, a panel coordinated and introduced by Quetzil Eugenio with conferences by Abdel Hernandez San Juan and George Marcus, Anthropology Faculty, The University of Houston, Houston, Texas, USA

Tyler Stephen A, Presenter (Dis)Play, published at The Creative Spirit 31.1 (1991): 122-130

Ah Dzib Pízté Exhibit:

A Perspective from Ethnometodology and cultural anthropology

/The Visual Expression of fieldwork: Quetzil Eugenio

©By Abdel Hernandez San Juan

This paper offers an overview of the turn of anthropology as literary criticism, when the work of anthropology in question to be discussed, as in literacy, consist about only writing, to the anthropology of film and the anthropology of curatorial practice and museum theory, to discuss the fieldwork experience and anthropology of Quetzil Eugenio, a USA anthropologist whos work is mainly based in Yucatan, Pizte and Chichen Itza in Mexico and who is increasingly mixing his writings and experience as fieldwork practitioner with the exploration of visual displays such as film and exhibits. The paper in question is focused around a curatorial practice we both curated and museographized together consisted about exploring representation of culture and mise in scene of fieldwork together as each one helps and support in between to a more success and alive result according to how we explored it in two of the rooms of the exhibit space at the lake forest college, the paper theorizes the issue of both, research method in cultural anthropology needed to discuss Quetzil anthropology while discussing it in terms of culture, and Quetzil anthropology research method focus the museum of archaeology and the parks of archaeology as the way to be in culture, research and develop projects with communities while at the same time offer a cultural theory theorizations of the main things to be consider about the relation between markets, tourism, culture and communities as well as on the main things Quetzil anthropology has reconfigured developing completely new ways, paths and avenues to explore forms to be in culture and ways and forms to relate fieldwork, archaeology and etnography over the background of previous forms in anthropology. The paper focus and discuss some of the main characteristics I consider important in Quetzil anthropology. 

Keywords: Cultural Anthropology, Literary Criticism, Anthropology Film Theory, Anthropology of Curatorial Practice, Anthropology Museum Theory, Anthropology of Archaeology, Research Method in Constructivism in Sociology and Cultural Anthropology, Performativity of Research, Elicitations

     The theory of anthropology or meta-anthropology, as I understand and discuss it here, has its beginnings in Clifford Geertz's efforts to understand anthropology as literature and write about it in the mode of literary criticism based on his book Lives and works, the anthropologist as author, however, the kind of meta-anthropology to which I adhere in my theorization of the anthropology of Quetzil Eugenio, although it preserves and brings from that a series of questions about how to understand and discuss the problems of research and methodological in anthropology, is faced with the challenge that, although to a large extent much of what I discuss also takes Quetzil's writing as a parameter, that is, essays and papers of his that I have read and which are implicit in my criticism - the literary criticism of anthropology as literature--, the analysis of concrete practices that represent one, the theorization about his film of the equinox, and the one that I will focus on this occasion, the exhibition that we curated and museographed together at Lake Forest College, represent that what my meta-anthropology discusses are not directly scriptural practices but rather a film and a curatorship, in this sense I see myself situated in developing a modality of metanthropology that in one case is a form of Anthropology film Theory --film Theory research-- and in the other, a modality of Anthropology of curatorial practice or Anthropology Museum Theory.

   The possibility of developing the still small field of anthropology as literary criticism or the relationship between literary criticism and anthropology, which I had already ventured into by relating the discussion of a literary work by Twain and the discussion of anthropology in my essay The Eclipse of the Evocation, moving it first towards the criticism of the film and then towards the criticism of an exhibition curatorial practice, becomes more complex and at the same time richer although not less demanding, given the fact that a not limited but rather abundant number of Quetzil's scriptural literature expressed in essays and papers is itself facing the challenge of discussing a fieldwork practice that increasingly combines the idea of ​​practitioner with the exploration of visual displays.

   When what we have before us for the literary criticism of anthropological writing is not as easily discernible as a simple relationship between a style and way of writing as the only means of bringing to the text the lived experiences and the staging of the field work on the which we theorize, but also supposes that writing about forms of practicality wrapped in visual displays inevitably turns and moves meta-anthropology from literary criticism towards domains that, although methodologically it does not neglect, due to the exploration of other means, it could not begin to develop either.

  Undoubtedly, the film and the visual displays of exhibitions such as the museum are also in contrast to the diatribes to which Geertz referred about the ways of staging both representations of cultures and field work itself, but as I have argued in other essays about my own fieldwork practice and research, in which Quetzil and I continue to be one of the few theorists, if not the only ones in the United States, truly immersed in it, whether the relationship representation of cultures in writing on the one hand, and field work put into a textual scene on the other, has been complex in anthropology as writing in the areas of film and the visual discourses of the museum, it has been no less so.

   One of the centers of attention of my criticism on this topic since the late nineties in the United States has been the theoretical and empirical demonstration of which I have no doubt in experimental and empirical terms expressed in clear research results, that Working together on the theoretical problems of staging fieldwork and ways of bringing the research we do on culture to representational modes complements and helps each other much more than could have been assumed in traditional anthropology, at least as it is understood. expresses in concrete results both in me and in Quetzil.

    The practice to be discussed on which the effort of this essay is focused is one more clear example in this sense, I propose to demonstrate once again how the experimentation of a visual display in this case an exhibition curated and museographed through a team criterion interdisciplinary that is, between me and Quetzil, in which both things are done at the same time, an exhibition is offered in which the culture is represented, and a way of staging the field work is offered, favors, enriches, It helps, complements, facilitates and, above all, offers ways to achieve results in both senses than otherwise, that is, trying to represent a culture without staging the field work alongside it, or conversely, trying to stage the field work, without offering representations of culture, could not be achieved.

    In my previous analyzes in reference to Quetzil's projects I have only placed the emphasis or accent, in order to offer the widest possible scope in the visual and symbolic set that cuts out or delimits the visual culture to which it is based, in terms of material culture. that his field work refers to, --I refer here to my essay Museum Theory: Anthropology of Markets and tourism on both of them--I have not, however, yet discussed what Quetzil does with respect to it and what is the peculiarity that offers an exceptional character to his field work and his anthropology.

   There are several and not a few things that offer Quetzil's anthropology an indisputable peculiarity specific to Quetzil as an anthropologist.

  Firstly, Quetzil's anthropology is not simply welcoming or accepting that culture as a text to which we have referred before as it simply is and comes pre-given according to the massive overcoding of its imagery, but it is discussing how it Visual culture is produced and generated by the textual practices of archeology museums and what relationship exists between these practices of archaeological representation and the production of images of a culture that, although justified in its character of archaeological discourse, creates and produces it? itself in producing images of an ancient past, images that current Mexican culture - including the strength of the Mayan culture in the latter - makes of itself.

    On the one hand, it presupposes a theoretical discussion on how the production of archaeological textual and museum practices confined to the idea of ​​archaeologizing a remote and ancient past, at the same time produces an image of culture towards tourism and towards current Mexican and Mayan culture itself. That is to say, these archaeological museological practices by producing visual forms about the remote past, as discursive practices of the museum inscribed in the spatial and temporal present of a tourist attraction with its markets, the archaeological park of the museum with its programs and markets, continually reinvents that past and produces in the reinvention of that images of how current culture in its relationship to tourism perceives itself in the production of itself—(Abdel Hernandez San Juan, The Equinox Film, lecture, The University of Houston Anthropology Faculty, 1997).

   It is about unraveling the fact that this self-production, far from being disconnected from authentic living culture, is also one of the ways through which the enclaves of contemporary authenticity of Mayan and Mexican culture expressed in towns are reproduced and self-produced. , communities and archaeological sites.

     To do this, it is necessary to theoretically and empirically unravel how the museographic, textual and visual practices of the Mayan culture museum are related to a tourist market of its products, programming and events that is embedded in various settings between tourism and the community, with the modes of production of images of culture for tourism and the modes of self-perception of the latter with respect to itself. (Quetzil Eugenio, letter to Abdel Hernandez San Juan, Lake Forest College, Illinois, 1999)

    On the other hand, it is not only about theorizing archeology in the production of images of culture in the museum of culture and its relationship, that of that archeology, with the present Mexican and Mayan culture, but also the anthropology of the archaeological museum It is also the anthropology of tourism and the communities between the two related, as well as the new age culture that frequents these enclaves through spiritual culture, tourist consumption and museum events with their markets.

    The emphasis on this accent of new age anthropology, which focuses for the analysis of culture not only on the authentic Mayan, but also in a broader and general way on the believer in different ways in this culture, including Americans, Mexicans, in general and tourists is not at all extrinsic to the discussion of this museum, its locations and communities, the fact that it is a market in which Mayans, Mexicans, archaeological institutions and a tourist market intended for it interact They bring together various contemporary, modern expressions of the ancient tradition, as Quetzil calls them, people from the United States, Mexico and other parts, and who are characterized by being attracted to the Mayan culture and its spiritual and mystical events while later wear their outfits and become carriers of them in different ways

    The fact that his anthropology involves not only the Mayan museum and its production of archaeological textuality, not only the Mayan and Mexican man through different forms of his community expression, the Mayan language and his memories regarding which many of his essays written around 1997 and 1998, as well as a good part of the visual expression of his field work that we visualized and discussed in 1997, but also to that new age American state that goes to the Mayan world fascinated by that, it seems to me extreme interest and attraction because it is a way of turning attention towards the expressions of a spiritual culture as it takes shape within the same American culture and extends the reach of anthropology towards subjectivities that are not related to it in the way in which it is It does not become its direct exponent, but rather it becomes its promulgator by wearing its attire in other ways of being assumed for reasons in which the very principles that shape what we understand as postmodern culture are intertwined, from which those themselves are not exempt. teams that have worked on different Quetzil projects both in the United States, including me, and in Mexico.

    I mean here that this anthropology of extensive postmodern culture, derived from what was previously discussed, supposes not only the anthropology of the new age towards the lay man, not necessarily focused on anthropology, but also the anthropology of Quetzil's anthropology and his own autoanthropology, its expression. same of that postmodern culture and its new age. This extends the reach towards the modern man of the great metropolis, the fact that doing research on one of these individuals who believe in the Mayan culture or acquire its artifacts, including the anthropologist himself who wears their clothing and visual forms for very good reasons, symbolic, mystical, pure tourist attraction, spiritual, or above all of properly anthropological fascination, it is also a way of continuing to do the anthropology of cultural postmodernism, at the same time as the archeology museum with its production of textual culture and visual, tourism, the archaeological park and the traditions and values ​​of the surrounding communities

     This also has a scope for research on the significant presence of Mexican culture in the same mixtures that make up cultural processes of the American cultural identity, at least as it is expressed in Texas according to my own experience, thus encompassing a possibility for what I I have discussed as self-ethnography, or autoethnographies since, on the one hand, Quetzil himself is the son of Guatemalan immigrants born in the United States, the culture par excellence of the Mayan and speaks Mayan at the same time as an anthropologist but also as a descendant of Guatemalan immigrants. , it is therefore also about turning attention towards a new age anthropology, resulting from empirical theorization and research on that anthropological and archaeological market of what he calls the fascination with the Mayan and which in my terms is a visual and symbolic of what we understand as postmodern culture

    Postmodernism in contemporary global culture has generated, on the one hand, an increasingly accentuated attention towards expressions of values ​​and philosophies of the world coming from other cultures while, on the other hand, it has also promulgated in a certain way dualism, which I understand by this I concept the relationship between the Western and the non-Western, embedded in each other as the same social and cultural formation that is both Western and non-Western, that is, dualistic.

    With the above I mean that in addition to his theory about the museum of Mayan culture in its production of archaeological texts discussed as a textual practice that produces images of culture, the investigation of archeology itself as a practice and of other archaeologists, such as The case in his writings about Steguerda and other anthropologists who have done field work before Quetzil in the same locations, supposes that it is also an anthropology about a single market that is generated around it and that brings with it the relationship between authentic settler, the Mayan of the neighboring communities, the Mexican in his community life, that archaeological and anthropological market that is generated around the museum and for the same reason also an anthropology then of the postmodern culture that in the new age is generated around it

    Although the above is mainly visible as a specific characteristic of his film about the equinox, I consider it implicit and intrinsically related to how Quetzil manages to implement his collaborations and the type of teams that have usually been related in different periods to his field work including me in the different settings in which we have worked together, both mine and his in my team, and his and me in his and above all to the foreground how it is expressed and acquires specificity in the anthropological and ethnographic discussion of this sample in lake Forest.

    In this regard, it will be necessary to expand on some theoretical questions about research methods.

    Regarding all of the above, it is emphasized to resort to a concept by Clifford Geertz when he referred to that invisible miracle through which a form of life enters one and transforms oneself in which our anthropologies, mine and Yours, they are related, I quote Geertz directly before continuing in that beautiful passage that Quetzil has recently evoked with his essay on the invisibility of ethnography in field work.

  “The ability of anthropologists,” said Geertz, “to make us take what they say seriously has less to do with their factual aspect or their air of conceptual elegance than with their ability to convince us that what they say is the result of having been able to penetrate (or, if you prefer, having been penetrated by) another form of life, having in one way or another been there and in the persuasion that this invisible miracle has occurred, is where writing intervenes.

    What I will discuss more precisely is the fieldwork of Quetzil Eugenio proposing a theoretical perspective in relation to and around an exhibition of anthropology and modern Mayan art in the ancient tradition that we curated together for a trip I took from Texas to Lake Forest as guest of the anthropology and sociology faculty at Lake Forest, with Quetzil at that time as an assistant professor at the faculty, and which we exhibited and musegraphed together in the Duran Gallery, that is, a discussion of his field work in the specific way in which I have been able to get to know it, from the United States and regarding its museography that we display as an exhibition on the visual display.

     As I maintained one of the main theoretical and research reasons for the experimentation of new displays for the visual in anthropology that has stimulated our experimentations, I am referring to the theoretical movement of sociology, anthropology, ethnography that we started in 1998 Abdel Hernandez San juan, Stephen A Tyler and Quetzil Eugenio, is to experiment with possibilities through which the staging of field work in forms of textualization and the representation of cultural forms or the cultures of our research can go more together and work more in unison, supported by a to the other within a new balance that counteracts, on the one hand, the usual difficulties of the anthropology museum in our country, the United States, to represent cultures as enclosures within the museological text that textualizes them, almost always excluding from visual experimentation the in field work scene.

    But the scope of much of what was previously discussed would not have acquired specificity nor would it have been nourished by elements in my theorization without, above all, the specific characteristics of how we staged Quetzil's field work, which is the part with which I was responsible for dealing as curator and museographer, that is, half of the exhibition, developed in the smallest room of the gallery, and focused on curating and museography the anthropology of Quetzil and more precisely the visual expression of his field work. We dedicated this part of the exhibition to theorizing and conceptualizing the spatialization and museographic and visual solutions of the staging of field work and its relationship with the curation of anthropology displays.

   Meanwhile, the other larger room was dedicated to Quetzil's curatorship, consisting of pieces by five Mayan artists that Quetzil brought to Lake Forest, as well as other pieces from his collection, baticks, wood and carvings.

   With the exhibition as a whole, it is a very well-constructed and achieved example of what I call an adequate balance between staging field work and developing cultural representations, how they can benefit, complement and help each other to the greatest effectiveness and success of both interrelated purposes in the end actually from the experience itself.

   The peculiarity of this exhibition is that it stages a very specific part of Quetzil's field work and above all that had never before been staged either visually or in writing, resulting in a first in this sense. The specific settings of their field work put into the visual scene correlated four main elements, on the one hand, the visual scenes of Quetzil in the houses and studios of these Mayan artists in their own communities in the film image mode of the artists at the time when they carve their wood and paint their baticks or sculpt their masks sitting and Quetzil between them sitting or standing talking about ordinary things of daily life or about the same pieces they carve with their explanations in pizte.

   On the other hand, a setting of several photographs of the tourist event around the pyramid in the archaeological park of the Museum of Mayan Culture in Yucatan that generates around it a massive visit of tourists specifically around the event of the moment in which the image of the snake in the form of a shadow on the pyramid for which tourists and visitors from the United States, Mexico and other parts of the world wait all day and in whose spaces one of the markets is generated in which this art is sold and marketed, market that, due to the way it connects the regulations and regulations of the archaeological museum in the programming of the archaeological park, with tourism and the communities, Quetzil defines as an anthropological market of fascination with the Mayan.

    The third element visually staged in this setting are printed and bound Quetzil manuscripts with his illustrated theoretical essays of anthropology on and around these two phenomena, the art of pizte, the event explained above and the relationship of both things, as well as a series of objects and elements typical of Quetzil's lecterns such as cameras, laptops, notebooks, among other furniture from his experience,

    The fourth and last element that I also had to deal with is a more directly intertextual reference, if you will, implicit to the fact, as I said before that Quetzil's anthropology does not directly take Mayan and Mexican culture as the object of its cultural research. , but rather it is situated before arriving at those, in the discussion of the same anthropology and archeology that have produced textual forms about that culture, taking as an axis of attention the rhetoric and the textual and visual discourses of the museum.

   This fact takes on a visual form in the exhibition at Duran Gallery through the staging of slides projected on the initial columns at the entrance to Steguerda's archeology office, since this archaeologist from the 1940s located his office precisely. in pizte the town from which the invited Mayan artists come and the art exhibited in the Quetzil area.

    While we staged the three previous settings in the small room between the two that make up duran gallery, the last one, the images of Stequerda's cabinet, were projected at the very entrance of the large room where, after seeing the continuous lup of the cabinet From Stequeda we went to see the exhibition of the five Mayan artists curated by Quetzil and his collection this time with my museographic and lighting advice.

    Although in a certain way the visual staging of the event around the pyramid is already a direct allusion to the anthropological and archaeological museum in the archaeological park in the sense of an anthropology of anthropology, due to its character as an event and above all all in the way in which the market, tourism, museum programming and community are intertwined, the emphasis falls more on the latter and less on the meta-anthropological theme which is then more accentuated or punctuated by exposing the continuous lup of Steguerda's office, something that It more directly presupposes the way in which we discuss other archaeological practices and their discourses and is one of the things, if not the main one, that characterizes not only the anthropology of Quetzil as written textuality but also the way in which Quetzil relates to the community.

   This fact, which I consider central to their fieldwork, centered my decisions on how to stage their fieldwork – not only the visual settings with the Mayan artists, but also the emphasis on the equinox event as a reference to the relationship anthropology of archeology, that is, museum, archaeological park, tourism and market in which that art is sold, the texts and furniture of Quetzil as an anthropologist, and in the transition from anthropology to culture, the entrance to the art exhibition Mayan with the lup on the archeology cabinet of Steguerda, that is, entry to the culture and the community through the intertextuality of the anthropology of archeology.

   Quetzil's anthropology, in fact, does not relate to culture and community as the direct object of study of his anthropology as a subject but rather relates to culture as a result of asking about how other archeology practices are producing images of the culture or have previously textualized it

    I am interested in discussing with this curatorship and museography these relationships in their field work while explaining how this enriches the research of culture, the fact itself largely removes the center of attention from their anthropology on the direct study of communities. understood as for the first time in the way in which this has usually been raised in the anthropology of peoples and communities, to in turn situate that the reality that they live from the market itself is affected by those museum practices when at most the The same market in which culture is reproduced is related to that museum and its programming in the tourist market,

      With the above I propose an objectifying theory about the anthropology of Quetzil Eugenio, the axis of this theory is based on placing that the anthropology of Quetzil focuses on the definition of a third object that decenters or disseminates the relationship between the subject and the object that It had to be assumed between the anthropologist and the culture or communities he studies. The very idea that he studies or creates a theory about these communities is for this same reason relativized or in between sayings because, although it is in culture in the sense of where and between what places his scenes of life acquire visual and spatial form, field work, the language school, the exhibition projects, the equinox film, his own book about the museum of Mayan culture and his work collecting material, data and documentation, the community and the culture specifically, is That is to say, the specific towns in which this anthropology takes shape, such as locations, Chichen Itza, Yucatan, Machu Pichu, Pizte, among other places, are not in culture in the form of an anthropology that makes communities and peoples its direct object, This relationship in terms of the object of study is not only dissuaded and disseminated but the center of its anthropology lies in relating to that culture and community as someone who is there, like them, studying such as museums, the archaeological park and the practices of anthropology and archeology have textualized ideas about the remote and ancient past of this culture, and how an activity of tourism, markets and recreation is generated around it, of which, on the one hand, those same communities and cultures are formed and of which they consist. both from the point of view of its economic reproduction, and from the point of view of the influence that this has on the ways in which these cultures proliferate and at the same time reinvent themselves in the very relationship between the archaeological museum, the archaeological park and the tourist market.

   The aforementioned, my objectification that it is in the first and last instance an anthropology that defines a third object between the how anthropologist and the culture in question, focusing not on live culture but on the written and visual texts that have produced textualizations. about that culture means, on the one hand, that the museum of Mayan culture that was once the subject of his first book, is not only the object of his anthropology but at the same time mediates his presence in the community and in the culture, the object, here the museum, which should be only the object of Quetzil as the subject of his own anthropology and therefore be mediated by the latter mediates in turn the forms of Quetzil's relationship with culture and the way in which his Field work.

    Being mediated by the object is not something entirely new in anthropology, but being mediated by an object which itself consists in the production of a textuality about the culture in question, does contract results specific to the latter that characterize Quetzil's anthropology. its specificity and style, its way of being in the culture and working with it. Although it is not a voluntary activity undertaken by the museum and its programs, mediating, as someone who has a programmed objective, the relationship of Quetzil's anthropology with the culture and the community, it is Quetzil himself who dissuades the focus of attention about culture and the community live to instead make the museum and the production of archeology texts the center of his attention, that is, the third object between him and the culture, or between the how anthropologist and the community, he has as a result of self-mediation or remediation,

   That is to say, Quetzil mediates himself and his anthropology in relation to culture by focusing his attention on a museum which, by itself being the main agent that generates markets, programming and tourism in these communities, also explains that the relationship between he and the culture are given not in their direct focus, but in their deterred or disseminated co-presence given in which both the anthropologist and the communities are both involved by the same event or by the same sequence of events and experiences and therefore both affected by the same and compelled to know it in order to know themselves.

    But the above also has a consequence that explains the meaning and reason of being that in terms of cultural anthropology my meta-anthropology then focuses on the anthropology of Quetzil, while the latter is focused on studying archeology through project practices. that include language school, ethnographic samples and films, among other results in what defines his field work, my meta-anthropology on the anthropology of Quetzil is focused in turn on while I theorize and discuss the anthropology of Quetzil, propose a cultural anthropology of that relationship between markets, communities, culture, tourism that, far from discouraging attention to a third object as Quetzil does, tries to discuss Quetzil and propose a more complex theory about the consequences that this has in terms of the anthropology of culture. not only for the study of contemporary Mexican and Mayan culture, or modern in the ancient tradition as Quetzil calls it, but also for American culture specifically my point of view from Texas, but in general, for the discussion of central issues of cultural anthropology both in terms of research method and in terms of the United States in Mexico and Mexico in the United States.

    The problem of how economic processes related to tourism affect the dynamics of the present configuration of culture and the ways in which these cultures are reproduced. That is to say, while Quetzil's attention as a field worker focuses a third instance that decenters attention on culture and the community to in turn generate a theory or ethnographic study of archeology and the relationship between the museum and culture. , my meta-anthropological theorization of Quetzil focuses on the cultural anthropology that is required in the discussion of it itself.

   Now, for Quetzil's purposes, this exhibition of the five Mayan artists made up of baticks, wood carvings and wooden masks also covers a significant part of their field work since Quetzil maintains the theoretical thesis in anthropology that the work of field can and in fact contemplates a part or a percent considered as a part of its possibilities, its potential and its own activities of what Quetzil calls agencies, that is, Quetzil considers that field work can itself include a part busy not only in representing the culture in the ways of its staging in writing, but now also in organizing it, Quetzil becoming in this sense not only in the one who goes to know that art and studies its culture in the communities but also in one that can contribute to the commercialization process, understood now as a process of valuing the spiritual, cultural, aesthetic and artistic values ​​of this modern Mayan art in the ancient tradition, as well as, above all, make possible the possibility not only of commercializing it but also and above all, exposing it.

  Exposing this Mayan art directly is something that Quetzil had ventured before in his exhibition on the campus of the University of Houston, but at that time a setting similar to those created by Mayan artists in the art and culture markets was created. Mayan, this time, that art has been exhibited and museographed with all the attention, accent and importance required in a formal exhibition space of Lake Forest College, Duran Gallery including the trip and visit of the Mayan artists on the opening day and during the month of the event.

  Since I had the opportunity to meet and talk during the preparations for the exhibition, during the inauguration and during the month of activities with each of these artists, I was able to clearly know not only what each of them were like, typical Mexican citizens and individuals of Mayan origin, but above all understand the ethical integrity, values ​​and morals given in the relationship of each one of them with Quetzil, the way they love him and appreciate the work and effort he is making to make known the values ​​of his art and their culture and the fact of how they feel in favor of Quetzil in the way in which the anthropology of Quetzil is developing an anthropological critique towards other archaeological and anthropological practices in their community, or the consequences of this on their culture.

   Although this exhibition did not include references to two other significant practices of Quetzil's field work, such as his bilingual Mayan and English language school in Yucatán, and his forays into interactive exhibitions in the same community such as his Chilan Balan exhibition, it is Obviously, this specific part of his field work focused on the art of pizte is also a clear and clear example of what Quetzil has called community collaborations and ethnographic intervention, in short, Quetzil's anthropology and ethnography as one that It supposes an anthropological criticism towards other forms of anthropology, archaeology, market and tourism practice on communities, they undoubtedly have the support and admiration of the community for their values ​​and qualities.

    This exhibition undoubtedly restores the spiritual, cultural, aesthetic and artistic values ​​of the art of pizte and its communities, as well as the values ​​of the art of these five extraordinary artists, something that begins to be made visible not only in the exhibition in Yes, and in the experience of that month that we lived with the five artists as well as in the catalog published by Quetzil, it would have been limited, however, to only the evaluation of each of the pieces exhibited and possibly to what each of the five artists said or could say about their works, if the visual staging of Quetzil's field work developed simultaneously and the theorization of it had not made it possible for us to offer the reader all the analyzes that I have developed in this essay, since the majority of these analyzes could not have been made explicit if we had referred only to the analysis of a number of paintings on canvas, wood carvings and masks exhibited by Quetzil and five Mayan artists, these analyzes have therefore been indispensable and have been possible because we put Quetzil's field work was simultaneously staged in the part of the exhibition that I had to concentrate on curating and museography.

  When I spoke of a mutual benefit from staging field work and representing culture, I was referring to it, while Quetzil, for his part, published a catalog which mostly focused on discussing the strictly visual symbolism of the pieces exhibited from the point of view of the ancient tradition expressed in those pieces, as well as in offering elements about the artists and to a large extent without a doubt some subsequent development that Quetzil makes about what this experience was, due to the accent of his approach, perhaps it consists in transcriptions of his dialogues with the five artists or other elements directly related to it, the image of culture that we now receive in terms of representation of culture with only the elements on the ancient tradition of the images in the catalogue, although interesting, it is clearly not only limited but also with the risk of suffering, if it were only about that, and not about it, but its relationship with everything previously discussed about the staging of field work makes it possible and beneficial, of the same things that Quetzil's anthropology has criticized in other previous forms of archeology and anthropology of the Mayan world, creating the image that they live in an ancient world disconnected from contemporary life and above all from all the elements whose relationships We have theorized that they peculiarize the culture and that, moreover, if they were planned by Quetzil, I would take care of them as made explicit in his letter of invitation to me.

   When at the same time, of course, the mere staging of the field work, without including the work of bringing these five guest artists, exhibiting their art and giving it the importance that we gave it, would also have lacked this part nourished in values ethical, cultural, aesthetic and visual, busy making Mayan art known as the protagonist of a culture, and not simply studying a culture.

    The methodology explored and developed by Quetzil also has, and this is the other point that focuses my discussion of his anthropology, unique consequences on the practice of field work and on what we understand by anthropology and ethnography. The above means defining that Quetzil's fieldwork focuses on a bundle of related concepts that is required to be understood, because the object is dissuaded or disseminated in favor of a third object that mediates as an event its relationship to the community, its Ethnography is based on a method of oscillation, this concept of oscillation, which I take from an essay by Gianny Vatimo The Art of Oscillation: from Utopia to Heterotopia, consists of Quetzil's ethnography developing within a continuous oscillatory procedure. between how the observer or subject of his anthropology, as a field worker, and the culture or the various objects that become the center of his attention in the different projects that specifically make his field work a practitioner's experience, this oscillation continuity between the subject and the object given in the very fact that the object of attention is the one who explains as a third instance what makes him and the community be in relationship, then in turn has consequences on the fact that his work field is essentially defined by elicitations.

    The concept of Performativity in research that I have proposed is given in a way that is much more related to the epistemological question of the theory of knowledge itself, that is, to how the relationship between research is elucidated or resolved in the definition and undertaking of research. subject and the object, in the case of Quetzil, Performativity in the research is less epistemological, it is less focused on the relationship here and now and on how to deliberate against it in a research, how the subject and the object are going to work in the cut. that will define the mode of research and more related to how each project manages to situate the continuous relationship to its anthropology between a third object, the how anthropologist and the culture or communities, establishing a closer relationship between oscillations, elicitations and performativity .

   It is not the same, and in reality it is something very different, Performativity than elicitation, Performativity in research refers to how we decide to resolve the way in which the relationship between the subject and the object that is required to be ordered and preceded is going to work. achieve the forms of objective and subjective knowledge that will give peculiarity and define what a mode of research will be like, elicitation in its difference, refers to how a practice or project elicits something that before or that otherwise would not have been possible, the film of the equinox.

   For example, due to the way the film was made, the fact that the film focused its attention on the event as a third object through which the anthropologist and the culture, the self and the community are related, elicits a form of seeing himself as an anthropologist and the culture according to the event that then defines his way of being in the culture, something that, without making the film in that way, putting the emphasis on the event, would not have been achieved and by itself elicited through the film that then becomes part of the continuity of fieldwork (Abdel Hernandez San Juan, unlimited fieldwork, 1997), an event chosen by the anthropologist focuses attention on his way of being in culture, and this event they involve him and the culture together, this elicits both things, a way of doing the anthropology of archeology that brings with it already within the event—which is itself already archaeological—, to the culture, to the community, to tourism to the markets and to him.

   Likewise, elicitation refers to how we work on the interrelation between the visual staging of the field work, on the one hand, and the Mayan art exhibition on the other, that is, the way of going from one to the other, of visiting each other. and from one instance to the other, to the sample of Mayan art after prior intertextuality of anthropology on archeology through the lup of Steguerda's cabinet, and to the staging of the field work, through three related elements, the lup on film of the artists in the process of their paintings and carvings in their own homes, the photographs of the tourist event in the archaeological park and the Quetzil lecterns, something that otherwise, without positioning the exhibition in this way, would not have been achieved , so that Performativity in Quetzil is more linked to elicitation due to the practitioner component that focuses its way of being on culture and less on the direct epistemological question between subject and object, text and world, epistemology and reality, subject and cutting of a form of culture in the construction of research.

   This interweaving between elicitation and Performativity characterizes Quetzil's projects.

   Performativity in research at an epistemological level maintains more direct attention on the cut that we make of a given cultural reality understood in the sense of how this will entail, in the way in which we will do the research, the discernment about the relationship between language and reality, between language and world, between text and culture, they maintain more of an equidistance in which they never cease to be completely extrinsic. This extrinsication is given by the fact that we must be aware of how we are working on the subject-object relationship even if this relationship becomes itself experimental in a more positivist sense, we never lose track of it because it is around it that we can discern whether we will work in a phenomenological, hermeneutical, exegetical or structural sense, if applicable. So performativity in research can work per se and independently of elicitation, although they can also go more together as almost always happens in Quetzil.

   The exhibition at Duran Gallery that we curated together, for example, elicits possibilities for both me and Quetzil that before that elicitation neither I nor Quetzil would have been able to count on, and in general the type of written works and theories that later, thanks to that elicitation, we have carried out. , the samples from Quetzil in Yucatán elicit ways of relating archival texts about the archaeological past with contemporary circumstances of the community and the ways in which these communities become aware of the ways in which the archaeological text in its relationship to tourism is part in the same way that they reinvent their past, give continuity to their traditions and prospect their futures that would not have otherwise been obtained, their exposition of Chilan Balan discussed in their essay The Past as Transcultural Space: The Use of Ethnographic Installation in the study of archeology is a clear example of this.

     The relationship between constant oscillation and continuous elicitation is given in the eminently projective nature of Quetzil's field work centered on the idea of ​​practitioner, but his anthropology also has an intertextual character that should not be ignored, while my anthropology is more intratextual, although it is also contemplates phenomena of intertextuality given in the fact that I work on the interpretation of culture as a text, either in the way I work on what I call the phenomenological and hermeneutic strata, with respect to pre-textual formations, the pretexts in my sociology and anthropology. are more related to the study of culture as a live text or pretextual forms in it, Quetzil's anthropology is in this sense much more intertextualist in terms of making archeology itself and anthropology the object of his attention.

  Against the above, it could be argued that also the fact that I write about Quetzil implies intertextuality, but my concept of the critical practice that implies the problematic of meta-anthropology as has been discussed by Clifford Geertz and taken up in another form by James Clifford , is much more situated in the field of exegetical studies, that is, in the field that moves between literary criticism and visual criticism, that is, the hermeneutical tradition that begins with the new hermeneutics in what we understand from Todorov. as criticism of criticism or symbolism and interpretation and less in the sense of doing an ethnography whose object of ethnography is the anthropology of Quetzil.

    There is no attempt in my theory about Quetzil to form an ethnography that ethnographs Quetzil in the way that, for example, Quetzil ethnographs steguerda, ethnographies the archaeological museum, and ethnographies other anthropologists and ethnographers who worked where he himself has worked, first of all. place, because my field work is not in the same place, that is, I am not doing field work in Yucatán, Pizte or Mexico, but between the United States in the present, Mexico from the United States, and Venezuela in the present of a immediate past and for me still present, therefore I am not creating an intertextuality that consists of an ethnography of the ethnography of Quetzil, but I am developing a form of criticism of anthropology that, like literary criticism, film criticism and the critique of the visual, it is a critique of critique, that is, an exegesis of Quetzil's anthropology and with it of culture, in short a cultural anthropology, otherwise Quetzil has also introduced me and several Sometimes therefore the criticism is mutual.

   By way of closing the above, it follows that as in all criticism, taking Clifford Geertz in terms of anthropology as a reference, although I do that cultural anthropology, it is still above all and first of all something about Quetzil Eugenio and his anthropology, that is, a literature intended to make known, in a greater scope than it may have in itself, the values, virtues, peculiarities and significance of an anthropology and the work of an anthropologist who has been developing a work of great importance and significance. The anthropology of Quetzil, and this will be the center of my theorizing, has completely rearticulated the ways in which the relationship between anthropology, archeology and ethnography, as well as between fieldwork and culture, was understood, something that Quetzil must be recognized as unique and as an indisputable renewal of his anthropology.

     Quetzil's anthropology has characteristics that make it unique in my opinion from the point of view of what I have called the way of being in the culture and the main reason why, in addition to being invited directly by him and institutionally to discuss his projects, I have chosen it based on a true and authentic assessment that I have made of its qualities, its potential and its values.

  The first of these characteristics is that Quetzil's anthropology, even many years before he accentuated and emphasized attention to the visual after meeting us at Rice University, has in itself a visual expression of his way of being in the culture. and their way of being in the field.

  While it is assumed that visual displays should have more preponderance in my sociology and my anthropology than in yours, paradoxically this is not the case.

  A very significant percent, if not the largest percent, of my sociology and anthropology, both in theory books alone, literary works, and in cultural theory both on culture itself and on art, depends to a large extent, and much more than in Quetzil, of what I write, that is, of the textual groups that I write.

   While in favor of fieldwork as my priority, I have written critical essays on writing such as The Eclipse of Evocation, it has been related more to an implicit duty to be to the telos of how I want it to be and less to the fact that in In reality, although my field work is strong and predominant, I depend much more than Quetzil on writing to make it explicit, as I discuss in my essay Entre el Acerbo y los Backgrounds when I say that in me, field work is made explicit and intelligible. . Quetzil has achieved in his anthropology something that I always wanted and could never achieve, establishing the spatial settings in which his field work takes shape as an expression and a form of visitable and traversable visual culture, this, directly related to the fact that Quetzil's anthropology is based above all on projects that are defined and established, each around a specific region and area of ​​geography and culture, and had a visible expression in his field work before we met.

  Although in later years I have noticed that it has also begun to occur to a percentage of them that for one reason or another, their essays have been moving away from that fresh and lively authenticity in the way of being in the culture given in the fact of having continuous and constant locations in which his fieldwork acquires spatial and visual form, at least during the years to which this essay refers, Quetzil's fieldwork was clearly and clearly established in Mexico, Yucatán.

  Obviously I am referring here to a notable and recognized dilemma in anthropology given in the question itself about to what extent field work is an experience that is lived which is then inscribed only in its inscriptions, that is, that it is inscribed only in writing and other ways of inscribing it such as documentation, but in a certain way, by depending on its inscriptions, once inscribed, nothing guarantees that it exists as fieldwork in itself other than in the subjective memory that one has of the experience. lived, on the one hand, and in the objective memory of its inscriptions, writing and documentation, on the other.

    According to this way of understanding registration, field work disappears or ceases to be field work as it was in the course of life from the moment it is registered, remaining only as a form that lives in the registration and in the documentation but Not so in that relationship to the culture that field work entailed, which in a certain way is no longer field work.

   When I say that Quetzil's anthropology has a spatial and visual expression in culture, I mean the opposite, that is, I mean the fact that regardless of how his field work is reflected in his theoretical essays, inscribed in writing and In the documentation, in their projects, as is the case with many projects that receive support from certain universities, foundations, scholarships or sponsors, the fact that they are justified by what relates them to objective locations in towns and community enclaves in the in which a work is carried out and in which the relationship to a heritage that includes cultural traditions, museums, markets, monuments, events and ultimately the activities themselves that Quetzil's field work establishes in them is assumed.

   Although someone could say that this is an idea that I have formed or an impression that has been caused by viewing documentary material such as hundreds of photographs that we have discussed, an impression caused by the way in which in his essays he decides or decides to write and at the same time inscribe, or a sensation that criticism has produced in me based on the viewing of his own film about the equinox, his own collections of what Quetzil calls modern Mayan art in the ancient tradition, or the visual and artifactual material that we display in the curating that we did together in Lake Forest and less the demonstration that such an image of what his field work is there in Yucatán has the spatial and visual expression of projects established in the culture that I have assumed, to in turn argue that the notions of travel, coming and going, being here and no longer there, also dominate his anthropology in the same way as in the common anthropologists, I would go ahead to question this vision, insisting on my point of view.

   If the anthropology of Quetzil, we can say that it has indeed had periods in which its being in the culture as field work there in Yucatán and in pizte, have been more intense and prolonged for certain periods of time in which it has had some financing and resources to direct certain projects, and periods in which that relationship has distanced or has diminished, in no way does this mean that in his anthropology inscription and documentation replace a being in the culture that more or less accentuated by one or the other periods, in my opinion Quetzil forms an enclave and a clearly discernible location for his field work.

    Like no other anthropologist in the history of anthropology, Quetzil has managed, in my opinion, to establish field work as a permanent visual and spatial reality in what he relates to his anthropology as forms of projects directly located in culture.

     There is in this, of course, also a self-perception, that is, with the above I am not saying that it is a simple placement in the culture without perception of oneself in it, certainly, there is a clear and clear self-perception of oneself in the field work and in what relates it to culture which in itself becomes accentuated by it with all intention, in fact, the idea of ​​a project that is established in the spaces of a culture itself presupposes Yes, there is already self-perception, the project is in the culture, located in its spaces, installed in the community, it was not before, and just being there is already as a project, a notion which in itself, by the way, presupposes it, It implies that self-perception.

   Being in the culture in an authentic way in no way means that research is not being done and that the latter does not presuppose that very being in it as part of the research.

  To understand this fact, it is necessary, of course, to pay attention to how the relationship between the ethnographer-writer-researcher and the pratitioner occurs in Quetzil because the different displays through which Quetzil operates as a practitioner suppose a certain spatio-temporal dislocation or, therefore, use a clearer concept, a certain disjunction between the spatio-temporality of fieldwork expressed in these practices and the work of writing.

   There is also a very close relationship in Quetzil's fieldwork between visual and spatial practices and the fieldwork itself, something in which we are different, while my fieldwork is much more related to the worlds of life and the mundane course. of the experience between day and night being discerned and then made explicit and intelligible as a form of theorization between that course, writing and practices, Quetzil's fieldwork is much more intricately intertwined and correlated with the idea of ​​practitioner and the concrete practices that this entails which, although based on being spatially installed in the culture according to the field work, take shape in concrete practices such as his film about the equinox and this exhibition that we curated together in Lake Forest but even before and also , his exhibition on the campus of the University of Houston and there in Yucatán in Mexico, the different projects that Quetzil has carried out in space, such as his Chilan Balan installation exhibition or the activities that his Mayan and English language learning school generates .

     Nor could we miss here the emphasis and preponderance that, after meeting us and beginning to work together on some projects, Quetzil gradually acquired not only its anthropology of the museum of Mayan culture, its anthropology of the museum outside the museum in research. about the archaeological park as given in his equinox film, but also an anthropology of the market that it forms, something that Quetzil began to define in his invitation to me for this curatorship in Lake Forest as an anthropological and archaeological market of fascination with the Mayan which progressively extended towards more directly specific field work with Mayan art, which is what we textualize in the exhibition, that is, field work sites directly related to a new search by Quetzil around the batick painters, the made of wood carvings and other techniques whose exponents not only did the exhibition that included a part of their collection and works by five Mayan artists who traveled to Lake Forest, but also visual material about Quetzil in the field work with the artists in their own houses in the community because although Quetzil had ventured into the campus at the University of Houston with an exhibition of Mayan art in free art, it was not until this exhibition in Lake Forest that Quetzil really displayed references to field work for the first time. on this specific topic, as well as the use that Quetzil has increasingly accentuated, of visual exhibitions and visual installations not only in the United States like the one in Lake Forest, but directly there, in the Mayan communities in Pizte and in Yucatán, such as form of communication and collaboration in the community and field work.

   We are far from assuming that a Mayan or a current Mexican believes that the rain that falls on Mexico is the tears of Quetzalcoatl whose shadow of the snake is announced in the west or that the Popol Vuh must be his bedside book, but the production of textual and visual archaeological forms museographies exhibited by the museum of Mayan culture within the museum disclosed in exhibitions and in illustrated catalogues, as well as in programs and events that are generated inside and outside the museum, if it produces a tourist consumer market that by consuming Mystical and spiritual images about the ancient past that the archaeological text generates, represent for the tourist an image of their own culture that, although it evokes an ancient and remote past, is current and present in its visual and textual reproduction in terms of the tourist market.

  It is in this sense that beyond the autotelic entelechies of the production of anthropological theories about archeology and anthropology, an anthropology of museum archeology and its texts, we must theorize how the relationship to live culture first passes through mediation that this archaeological text already means for the self-perception that this culture has of itself in its relationship to tourism.

  It is not, of course, about taking as a fact or assuming that such images consumed by tourism offer some clue to what culture itself is when at most, on the contrary, it refers to how that culture reinvents itself. , but to understand that these markets are intrinsically related, for economic reasons, to how, ultimately, and to a large extent, culture is reproduced.

  Where there is an economy, culture receives motives for its proliferation and rise, and although the museum of Mayan culture is not the only institution through which Mayan culture and Mexican culture are developed, it is just one among others, if it must bringing to the foreground the fact that the communities that are in the surroundings and very close to the archaeological park of the monument area, as well as the museum enclaves and their proliferation for tourism, are much more related than other communities in Mexico, to the fact that its own reproduction and economic boom is directly related to the market that is generated around tourism and museum programming and to the way in which this implies the relationship between a Mayan and a Mexican who carries his lives, their forms of habitation, their community traditions and their values, a normative institutionality that regulates privileged activities and a tourism that is at the same time tourism of the fascination of anthropology and archeology with the Mayan but also tourism in general attracted to it,

  For this reason, the Mayan and the average Mexican who lives in these surrounding and nearby communities has to relate the traditions that they live or recognize within their communities in systems of customs and values ​​acquired by family descent and by community ties, with a objective and subjective reality through which to produce current symbolic culture around the visual resources referring to the Mexican and the Mayan, is the conducive way for the economic prosperity that arises in the relationship between an archaeological institution dedicated to the memory of a ancient past and a current tourist market attracted by this textual and visual production.

      In this way, the Mexican and the Mayan of the communities surrounding the museum not only find in the programming of that opportunity to sell their artifacts and symbolic crafts from which to some extent they live and through which their own culture therefore prospers. , reproduces and survives, but in a certain way begins to relate what comes alive through direct cultural tradition in the culture and what through those tourist market conditions formed by the relationship between the production of visuality of the archaeological museum and tourism, within the ways in which that Mayan and that Mexican make images of themselves and at the same time create current images that recreate the visualities of the archaeological museum.

    This concept of images of themselves for tourism does not mean a way of falsifying how they understand their culture, it is simply the fact that their culture begins to reproduce from economic and tourist conditions that presuppose the interaction between a discontinuous memory, that is, that is, oral and living in horizontal traditions, a memory produced by the text of the archaeological museum that refers to an ancient and remote past and a tourism that is economically organized and develops between both things and that therefore its culture is in front of to transformation dynamics.

  I have situated the above to discuss the fact that Quetzil's anthropology not only refers to the archaeological museum in itself as a critique of anthropology on archaeology, but also involves theorizing attention to the museum and its programming, as a way to relate to the same community, accepting the fact that in a certain way the museum already mediates that relationship in the same enclaves where the communities develop.

  Nor is it a matter of Quetzil simply accepting the way on one side and the other, the tourist on the one hand, the museum authorities on the other with their rules, and the Mayan and the current Mexican in their communities on the other, things have been or are usually represented, rather it is about this setting of interaction between various dynamics as a form of relationship to then find and study phenomena that from none of those sides has been previously foreseen and that nevertheless inevitably involves implicit and inclusive way the relationship between them.

   The installations, for example, that Quetzil develops in community spaces, as well as its Mayan and English language school, aim to enter at a deeper level into specificities of the Pizteño and Yucatan culture that are not reduced or limited to texts and self-representations. produced by the museum and by tourism, but his equinox film, developed after writing his book on the museum of Mayan culture, is a clear example of how the previously theorized is required to understand and analyze parameters of its anthropology and field work.

  Although Quetzil has more recently begun to pay attention to some questions of research and methodology that we discussed in my ethnography and Performativity laboratory in 1998 in Texas, and that we had also discussed before in 1997, discussing them from new perspectives specific to his current research, I I refer to his essay on the invisible theater of ethnography and the performative principles of fieldwork, the concept of elicitation continues to be essential to understand his anthropology, which I consider can be discussed in his anthropology since before my laboratory.

  Although my insistence on the concept of elicitation in fieldwork to discuss Quetzil's anthropology could be understood as my way of avoiding or avoiding discussing the propensity for other types of dynamics that Quetzil refers to in his essay, it is not about of it.

  The Invisible Theater of Ethnography is an essay that Quetzil writes very attached to and very in relation to from within the questions that have arisen in the exploration and experimentation with installation forms from which he tries in that essay to extract their consequences for a theory of research, however, has in turn, from my perspective, attention to issues that could distract my attention from the interpretative problematic of culture as a text, that is, what I discussed in other essays as the application of problems of exegesis and literary criticism not to the criticism of anthropology about anthropology but to the theory of live culture, that is, to the theory of how to interpret the text of culture.

  As I said before, my attention to the question of culture as a text refers to the fact that the symbols of culture but also in all its expressions must form the material of a continuous exegesis, both for field work and for writing. so that whether or not that text is pre-given in the culture, as occurs with the text of the archaeological museum in Quetzil, or that text must be constructed through the phenomenologies and hermeneutics of the textual strata, as I did in my work. of field studies and texts on urban markets, including the very methodological questions of research that presuppose Performativity in field work, can and should, thanks to the constructivism of the object in post-ethnomethodological sociology, but above all thanks to an experimentation of Performativity in the research that continues working around the reading and interpretation of culture, maintaining its relationship to a textual exegesis.

  It is not, as I alluded to elsewhere, a critique of the text in the sense of dislocating the relationship between interpretation and culture, it is about, in my critique of the text, getting the ways in which we can evade how the writing previously given about the culture has produced an idea of ​​text that distances us from the direct research of culture that, from field work in terms of Performativity in research, allows the understanding of it and its symbols, as well as its material and immaterial forms in exegetical terms. and interpretive, more in the direction of the exegesis of culture as a text and less in the direction of accepting the texts about the former in the place of the former, my attention is not to avoid Quetzil's current emphasis when in the main and almost the greatest hundred of the issues we agree on, but rather focus my attention on other issues.

  It is from this point of view that, in my opinion, the concept of elicitation continues to be more favorable.

  My work with Quetzil, which includes in formal terms regarding him my conference as a panelist in that panel about his film on the Equinox developed in the context of the ethnomethodology congress at the Faculty of Anthropology of the University of Houston in 1997 and this trip to Houston to Lake Forest College in Illinois where we developed together this curatorship of anthropology and Mayan art at Duran Gallery, I ended up consolidating the fact that not only my theorizations and essays on Quetzil were developed from the United States but that my knowledge of Mexican culture and Maya were also developed as an anthropological perspective from the United States.

  With the exception of my own experience, a Tejano by life and after anthropological analyzes on the same process of cultural experience that was permeating me and influencing my sensitivity, my subjectivity and my life in Texas on the presence and influence of Mexico in Texan culture, my previous knowledge about Mexican culture and the Mayan culture related to it, had been bookish, that is, known through materials such as visual catalogs of archaeological museums, magazines, television documentaries and films and not through direct knowledge. of a culture which I did not come to know firsthand until many years later when I traveled from Texas to Monterrey in 2001, an experience limited to only one month and three cities, Monterrey, Nuevo León and San Luis de Potosí.

  These analyses, however, although they focus above all and first on the sample at Lake Forest College, are not entirely limited to it since it is necessary to consider my inclusion of theoretical and critical material from other settings that, although less formalities, could not be overlooked, such as readings of papers and essays by Quetzil carried out in his own house or in mine in Houston, visualizations and discussions of documentary material from his field work carried out in his own apartment in Gordon Westheimer, as well as Nor can we ignore the fact that, although I focus only on discussing Quetzil, I know many other things that have related us, such as the fact that conversely, Quetzil has also participated as my guest in experiences of my field work such as my ethnography and Performativity laboratory in 1998 in Texas at the same time that we have participated as panelists in panels coordinated by Quetzil in which we are both each discussing our own fieldwork practices or about visual anthropology displays, when in fact, I have previously composed an essay about the two of them together and when, moreover, Quetzil was also my guest during the month of the exhibition of my work The Market from Here: Mise in Scene and Experimental Ethnography during my curatorship in the spring of 1997.

Abdel Hernandez San Juan

Artistic Director

Transart Foundation

1412 West Alabama

Houston, Texas, 77056

  This letter is to invite you to participate as a panellist on a Forum concerning “Maya Art and Anthropology” that will be held December 2, 1999, on the Lake Forest College Campus in Myer Auditorium –Hotchkiss Building. We fell that your areas of research and expertise are especially important for our discussion in that you may provide us with special insights and understandings to the issue of concern. This panel forms part of an ethnographic installation devoted to Maya Art and Anthropology and is conceived as an opportunity to discuss the exhibition component of this interdisciplinary event. 

   This art is of interest given that it has no prior history in the artworlds of the USA. The art itself originates in the context of the touristic and anthropological fascination with the Maya, especially in the context of the anthropological and tourist markets centered on the archaeological ruins of Chichén Itzá.      

  Thus, there are some interesting questions regarding the status and value of this artwork vis a vis other aesthetic traditions such as folklore, fine art, contemporary art, modernist art, etc. 

  Given that this exhibition is the first ever in the USA within a gallery setting, some interesting debates regarding how to curate, install, and market this art come immediately to the foreground.

  These questions connect up to the histories and roles of both anthropology as a discipline of collecting-exhibiting and museums as an institution devoted to the representation of cultural forms, whether they be aesthetic or ethnographic.    

  The interesting set of issues concerns curatorial practices and how they may be used as an ethnographic practice of representing cultures and cultural forms. Additionally, we are concerned to question the nature of anthropological installations of art by asking how such may be similar or different than other modes of exhibition in practical and theoretical terms. This is an especially interesting topic when the style of the ethnographic installation of art finds theoretical inspiration from the work of conceptual artists such as Kossuth and performance theory as developed in theatre anthropology and the arts. 

   We hope that this may be of interest for you and that you can join us for the panel. I will communicate with you directly so as to address any questions regarding your role in the panel or the installation in general if you choose to accept. Please find enclosed supplemental materials to provide you with greater information about this program of activities. 

Sincerely yours

Quetzil Eugenio

Assistance Professor

Department of Sociology and Anthropology

Lake Forest College

Lake Forest, IL 60045

November 12 1999

Abdel Hernandez San Juan

Artistic Director

Transart Foundation

1412 West Alabama

Houston, Texas, 77056

      Lake Forest Colleague invited you to experience Ah Dzib Pízté, Modern Maya Art in Ancient Tradition, An Ethnographic Installation and Gallery Showing of Contemporary Maya Art in Batik Cloth Pâinting and Wood Statuary with Five Mexican Maya Artists visiting from Chichen Itza

Program of Events

Please Attend the Opening Reception

And Silent Auction to Benefit the Artists

Special Guests include President Spadafora

And the Honorable Mexican Consul Heriberto Galindo

At 7.30 pm, November 30 ninety nine

Forum Maya Art and Anthropology

Discuss the Maya Art with Artists, Anthropologists and Critics with special guest Abdel Hernandez San Juan, Cuban Artist, Art Critic and Anthropologist, Curator of the Museum of Visual Art Alejandro Otero in Caracas, 7.00 pm, Thursday, December 2

Gallery Showing of the Maya Art Exhibition

From December 1 through December 10 2.30 -5 pm

Exhibit Showings and intercultural exchanges with the Maya Artists are organized for LFC and area high school groups throughout the exhibition

On the third floor of the Duran Art Institute of Lake Forest College, Lake Forest, Illinois, 60045

Sponsored by a grand from the US-Mexico Found for culture, a binational organization comprised of the Mexican Fund for culture and the arts, Bancomer Cultural Foundation and the Rockefeller Foundation

Additional funding provided by the Dean of the Faculty, LFC and the Department of Art, Sociology-Anthropology and the Latin American Studies Program

Abdel,

Here is your travel information

Itinerary

Tuesday November 16m one thousand nine hundred ninety-nine, Continental Flight 1704

Leave: 10:50 am Houston, TX, Intercontinental, IAH

Arrive: 1.15 pm Chicago, IL, Ohare, ORD

Equipments; 737-800

Meal: Lunch Snack, Brunch Stops: none

Deat 11 A Window, -December 8, nineteen ninety-nine 1101 Leave: 10.55 am Chicago, IK Ohare, ord, Arrive, 1.40 pm Houston, Tx, Intercontinental, IAH

Continental Confirmation number 1wz4d

Travel Agency Reservation Code cititravel wMWKEH

Rand inform me that he is preparing other letter of invitation to, but due to certain difficulties of determining the date of your workshop presentation there have been delays. The issue is one of ensuring the greatest number of persons in attendance

We are looking Forward to your talks, as your work speak to many of us from different disciplines

Please contact me if you have any question about your travel arrangements

Quetzal

Depart Sociology and Anthropology

Lake Forest College

Lake Forest, Illinois, 60045

Lake Forest College

November 12 1999

Abdel Hernandez

Transart foundation

112 West Alabama

Houston, Texas, 77006

References

1997- The Equinox Film. By Abdel Hernandez San Juan, Lecture discussed at the panel on the equinox Film, a panel coordinated and introduced by Quetzil Eugenio with conferences by Abdel Hernandez San Juan and George Marcus, Anthropology Faculty, The University of Houston, Houston, Texas, USA

1998- Pierre Bourdieu. By Abdel Hernandez San Juan, Conference Lectured at the Bag Lectures Main Room, 12.00 Am, Anthropology Faculty, Rice University, Houston, Texas, USA

1998- Lab of Performativity and Ethnography. By Abdel Hernandez San Juan, series of Abdel Hernandez San Juan theoretical Lectures and lectures on his research method, a programs of his USA Cities Travels such as New York, san Francisco, Berkeley, louisiana, and a program of his individual ethnometodological research, ethnographic and performativity research in usa and two series of theoretical dialogues Threshold between Abdel Hernandez San Juan and Stephen A Tyler and Ethnographies after ethnography. By Abdel Hernandez San Juan and George Marcus, with the participation of Abdel guest Quetzil Eugenio, professor of anthropology in the university of Houston and Surpic Angelini, transart foundation president, printed poster program, ocre Kraft paper colour, printed by bubu, The Circle of the Lake, Rice University, Houston, Texas, USA

1998-2002-Theoretical Interventions. By Abdel Hernandez San Juan, Interventions to Bag lectures main room faculty and guest’s lectures, pink and clear green poster programs announced, 12.00 am, Lectured by Abdel in English, Faculty of Anthropology, Rice University, Houston, Texas, USA

1998- Living Between Cultures. By Abdel Hernandez San Juan, Conference lectured at the Hispanic Institute of culture, and late developed as a one year seminar of one lecture a week on the same issue developed as a theoretical seminar in auto anthropology and autoethnography addressed to himself as emigrant in the united states and before in Venezuela and to the participants audience composed by emigrants who taked the seminar including Mexican-Americans and Argentineans Americans USA emigrants, Lucila, graciela and her husband, Alonso and Monica, alma and Antonio, an Abdel private busssines, coordinated and organized by Diana Gland, Lab of Performativity and Ethnography, The Circle of the Lake, Rice University, Houston, Texas, USA

1998.Theorizing and discussion Routes: Travel and Translations in the Late XX Century of James Clifford. By Abdel Hernandez San Juan, with his guest Quetzil Eugenio, professor of anthropology of the university of Houston and Surpic Angelini, transart foundation president, Abdel Office, Second flour, Sewall Hall, Lab of Performativity and Ethnography, The Circle of the Lake, Rice University, Houston, Texas, USA

1998.Theoretical reading and discussion Stephen A Tyler Paper prolegomena to the next linguistic, published at alternatives linguistics, Abdel Hernandez San Juan, with Abdel guest Quetzil Eugenio, professor of anthropology of the university of Houston, Abdel apartment at Cambridge course, Lab for Performativity and Ethnography, The Circle of the Lake, Rice University, Houston, Texas, USA

1999- Art Pizte Exhibit. By Abdel Hernandez San Juan, lecture discussed at the Faculty of sociology and anthropology lectures auditorium on the exhibit by Abdel Hernandez San Juan and Quetzil Eugenio as co-curators at Duran Gallery, a travel from Houston to lake forest and a program coordinated by Quetzil Eugenio, assistance professor of anthropology of the lake forest college, discussed as part in a panel Maya art and anthropology with conferences by Abdel Hernandez San Juan, Alaka Wally, Stephen Eisenman, Richard Towsend, Quetzil Eugenio and Lisa Breglia, Lake Forest College Faculty of Sociology and Anthropology, Lake Forest, Illinois, EUA, 1999

Bibliography

Clifford James, Routes: Travel and Translations in the Late XX Century, Harvard University Press

Eugenio Quetzil, et al., eds. 1999. Ah Dzib Pízté’ Modern Maya Art in Ancient Traditions. Exhibition Catalog. Lake Forest: Lake Forest College

Eugenio, Quetzil The Invisible theater of Ethnography: Performative Principles of Fieldwork, The Open School of Anthropology and Ethnography, Anthropological Quarterly 79 (I)75-104, USA, 

Eugenio Quetzil, The Past as Transcultural Space: Using Ethnographic Installation in the study of Archaeology, the Open School of anthropology and Ethnography, and The University of Indiana, Public Archaeology: Archaeological Ethnographies, Vol.8 No, 2-3, 2009, 262-282, USA

Hernandez San Juan Abdel, The Intramundane Horizont, Hermeneutic and Phenomenology of Every Day Life: A Perspective from Phenomenological Sociology, complete works, tome VI, Book, 2017

Hernandez San Juan Abdel, Rethinking Urban Anthropology, Complete Works, Tome VII. Book, 2019

Hernandez San Juan Abdel, The Constellation of Common Sense: Sociology of common Sense and Anthropology Research Theory, Selected Essays, Tome VII, Book, 2019

Hernandez san Juan Abdel, Phenomenological Anthropology, selected essays, Tome VI, Book, 2018

Hernandez San Juan Abdel, The Thresholds of the Couple: Self-Ethnography in the First Person, Complete Works, Tome VIII. Book, 2019

Hernandez San Juan Abdel,The Equinox Film. Lecture discussed at the panel on the equinox Film, a panel coordinated and introduced by Quetzil Eugenio with conferences by Abdel Hernandez San Juan and George Marcus, Anthropology Faculty, The University of Houston, Houston, Texas, USA

Hernandez San Juan Abdel, Art Pizte Exhibit, lecture discussed at the Faculty of sociology and anthropology lectures auditorium on the exhibit by Abdel Hernandez San Juan and Quetzil Eugenio as co-curators at Duran Gallery, a travel from Houston to lake forest and a program coordinated by Quetzil Eugenio, assistance professor of anthropology of the lake forest college, discussed as part in a panel Maya art and anthropology with conferences by Abdel Hernandez San Juan, Alaka Wally, Stephen Eisenman, Richard Towsend, Quetzil Eugenio and Lisa Breglia, Lake Forest College Faculty of Sociology and Anthropology, Lake Forest, Illinois, EUA, 1999

Hernandez San Juan Abdel, Pierre Bourdieu, Conference Lectured at the Bag Lectures Main Room, 12.00 Am, Anthropology Faculty, Rice University, Houston, Texas, USA, 1998

Tyler Stephen A, Presenter (Dis)Play, published at The Creative Spirit 31.1 (1991): 122-130

Ah Dzib Pízté Exhibit: Exploring Interdisciplinary Displays/Workshop and Exhibit at Duran Gallery

©By Abdel Hernandez San Juan

This paper explores narration--telling a story-- around everyday life and a descriptive mode as a method to offer an overview on an curatorial, museographic and etnographic practice exploring an interdisciplinary display—the presentation of an exhibit of anthropology through an art gallery setting institution, curating and museographizing both anthropology and the mise in scene of fieldwork, on the one side, and a show of five Maya artists from Mexico, on the other, co-curated and co-museographized between me, Quetzil Eugenio and Lisa Breglia on Quetzil Eugenio anthropology specifically his work with the art of Pizte including batiks and woods. 

The paper focusses on the exhibits but also on the general experience surrounded the curatorial practice as well as a workshop in lake forest college of Illinois during the winter of 1999

Keywords: narration--telling a story-- around everyday life and a descriptive mode, interdisciplinary display of anthropology and art, curatorial practice, museography, ethnographic practice

Ŵritten and composed in English by Abdel Hernandez San Juan

Curated by Abdel Hernandez San Juan, Quetzil Eugenio and Lisa Breglia

  This letlee paper is about an experience consisting on an exhibit and a workshop I participated as a formal guest of the Faculty of Sociology and Anthropology of the Lake Forest College during the ŵinter of 1999, traveling from Houston ŵere I am established living since 1997 ŵith a fellow and as a research associate anthropology faculty at rice university, school of social sciences, the experience itself ŵas my first travel to Chicago, and it supposed to be practice after several weeks participating at the National Congress of anthropology.    

  As soon as the congress ended Lisa, Quetzil and me, ŵe established ourselves living in an apartment in the city of Chicago and then daily traveling to Lake Forest which is near to 30 or 45 minutes far away on a train, a beautiful travel and also a beautiful letlee but natural Forest surrounded campus of very England, Victorian kind of architecture during a very could winter under the snow, whiten. 

  The experience to be developed consisted about an exhibit at the Durant Art Gallery of art Faculty and was possible thanks to the Faculty of sociology and anthropology as I ŵas there invited coordinated by Quetzil Eugenio as assistance professor in the faculty, and it included first a process of designing, museographizing, exhibiting, installing, lighting, distributing, taken spatial decisions, designing the exhibit as a ŵhole visually and conceptually.

  Such a process ŵas developed for around two weeks before the opening of the exhibit between me, Quetzil, Lisa and Anglo-American students that year graduating from the art institute or the sociology and anthropology one, and it evolved essentially tŵo kind of things to be spatially resolved, a first half ŵas directly related ŵith spatializing and museographizing Quetzil himself, his kind as anthropologist, his tolls, stuffs, cameras, slides, videos, films, and a second half ŵas defined to be about then also spatializing his collection as well as an or overall an exhibit of five Maya artists from Mexico Quetzil invited, museographizing it, installing it, distributing it, designing it. 

  Quetzil collection consisted about on Maya Artesanies pieces of batiks and ŵoods, it revolves around a relationship betŵeen Quetzil and the Maya artists 

  In all my previous experiences as curator, including my previous one letlee serie of seven exhibits I did, conceived, exhibited and presented as curator at Rice University tŵo years before, doing curatorial practices supposed to be overall selecting the artists and the artists pieces as I ever did before, it ŵas then to me a big challenge to participate as curator and museographer about something I did not selected myself, so having to figure out how to ŵork both designing and conceptualizing ŵith things Quetzil selected and collected.

  In this sense it remember me a concept I previously conceived and proposed which ŵas that one of tollfully mixing spatially museographizing and stage designing as an interdisciplinary practice of conceptualizing and doing ethnography and in this sense it will be probably better to think about an exhibit experience ŵith three curators, myself focused about designing as a whole the room of an exhibiting of Quetzil stuffs kinds as anthropologist, Quetzil, who stay focused around his relation with the Maya artists and their pieces and Lisa Breglia who stay betŵeen me and Quetzil. 

  By this reason our attentions as co-curators ŵas compliment both theoretically and practically, even when ŵe did it together in all the details, enthusiastically motivated and fully in agreement theoretically and experimentally discussing each decision to be taken in a successful consensus valuating reasons, and when ŵe both respect each other in doing it, there ŵas evolved participating in every conversation and spatial decision also Lisa Breglia playing a significant role.

  I ŵill then define our accents as follow, first myself focused around the experience seen in a general field of curatorial practices that evolves high art curatorial practices as the experience ŵas certainly committed to be exhibited in a high art gallery of an art faculty and theoretically committed to consider things in that sense such as for example Lyotard exhibit The Inmaterials at Pompidou as an example of a readymade of contexts in his case an exhibit of philosophy in an art museum setting, to which I written regarding the inmaterials, lyotard at pompidue and as a guest from a Faculty of Sociology and Anthropology trying to explore the interdisciplinary possibilities of it as an experience in the general field of curatorial practices in the United States, the Anglo-American perspective from an institution in USA.

  Second Quetzil, focused on an activity that evolved a direct relation between himself as anthropologist, his batiks and wood pieces and each Maya artists as a practice that evolved to him to be as a merchant one relationship within a market that supposes a touristic market of collecting and exhibiting exploring a relationship betŵeen Artesanies and art from the moment tourism Artesanies are placed at a high art gallery, it evolved to him also, not only a matter of market but also a part, or an specific moment of his own fieldwork activity, that one around his relations and exchanges ŵith Maya artists around the touristic markets and ruins of chichen itza in Yucatan, and finally Lisa Breglia who’s roll I ŵill say can be essentially defined to be a roll of communications in betŵeen me and Quetzil professional specialized expertise’s and that ŵas great also to students. 

  The experience as a ŵhole can be characterized by a workshop of designing the exhibit ŵith young Anglo-Americans that year graduated artists and or from sociology and anthropology faculty and included as major the documentary of it through a film, the workshop included the Maya artists despite front the fact that ŵe all meet together at certain hours out of work to dinner, relax, enjoy and various activities, it ŵas then a trilingual experience including English, Spanish and Maya. 

  The exhibit as a ŵhole ŵas defined by tŵo gallery rooms. To the first one room, the letlee one, I proposed to display a conceptual contemporary art environment installation on Quetzil as anthropologist spatially discussed and decided betŵeen me, Lisa and Quetzil in consensus after weeks of analyzing getting as a whole spatial result a general installation discussed and respectfully consulted to Quetzil, so as a collaboration betŵeen me, Quetzil and Lisa

   This environment installation included three pieces visually, spatially and conceptually related to a mixture as a whole. A first one piece placed at the background wall seen from the room entrance consisted about showcasing a touristic scene through exhibiting a series of Quetzil photography’s on the touristic market scenes of chichen itza in Yucatan and around the Maya pyramids and ruins, such a setting of Quetzil photos was museographized over a table inside a black box ŵith an orifice for a viewer to look through inside

  A second piece, placed on the right seen from the entrance consisted on a table ŵith a display of Quetzil tolls and stuffs as anthropologist including computer laptop exhibited and other electronic artifacts such as Quetzil video cameras, Quetzil photo cameras, Quetzil collected slides, Quetzil photography’s, Quetzil notes books, Quetzil office furniture’s and Quetzil printed and covered copies of visually illustrated papers and books he did on Yucatan, to viewers generally looks at it as a showcased mise in scene setting or optionally sit down yet providing a chair to any curious slowly revise, read, open, wash or read the books.

  A Final piece of this installation ŵas unfolded on the main room ŵall on the left seen from the entrance, I proposed it to be an screen projection of a continuum video from the laptop ŵith a constant film about Quetzil in everyday life exchanges and communications ŵith several Maya artists around their rural houses and spaces to carve, shape and engrave their wood pieces including audio so for a viewer to enjoy Quetzil in Fieldwork and the artists doing their pieces and speaking. 

  In the main and big gallery seen from the Entrance, I proposed in a front column a continuum lup sequences ŵith images of Steguerda Cabinet, his environment Cabinet, an archaeologist who stay doing archaeology fieldwork around the forties, many decades before Quetzil in the same places and about the same issues.  

   The reason to propose such a lup at the main entrance of the gallery exhibit ŵas a conceptualist proposal committed to evoque a sobreordinated setting about a general contemporary exhibit of anthropology and art that is not about a culture as by a first time, but about a culture that has being already previously many times both textually and visually approached, so as a palimpsestual Sobreordination, something also successfully discussed in consensus by me, Quetzil and Lisa since Quetzil himself as anthropologist explored a book not on Maya culture but on the museums of Maya culture as an anthropology of archaeology and museums practices.  It ŵas an spatial proposal based on the fact that Quetzil is being himself ŵriting papers on Stegerda. 

   Like the previous room this piece can be recognized mainly as a collaboration betŵeen me, Quetzil and Lisa since all we did was conceptually and consensually discussed. 

    to the main ŵalls and spaces of the big gallery room Quetzil asked to be reserved to exhibit his Maya batik’s and ŵoods, I worked as an adviser museographer of Quetzil exhibit with the five Maya artists suggesting light and montages solutions.

  However, the Workshops itself ŵas a beautiful experience as I explained before it included tŵo workshops, one around the first half of the gallery, the letlee room, and another one around the second half of the exhibit focused in exhibiting the Maya artists while there was also a general experience evolving film documentary of everything as well as Quetzil explanations to students about the collaboration between me and him, and his explanations about his relations ŵith the Maya artists.

  Finally as a result ŵe can say that this workshops relates and mutually benefits from the moment moving to everyday life ŵe ŵere all together enjoying a same life experience, Quetzil, me and Lisa living in a Chicago same apartment enjoying life activities in reciprocity and mutuality, lunch, dinner, daily conversations, or during the exhibit montage, taking time to rest out, inside and outside the art building, smoking cigarettes, enthusiastically theorizing anything motivated us, speaking about books, etc, ŵe experienced for example the Chicago book feria that time, waiting the train under the could snow, having fun on daily things, visiting city places at nights, traveling ŵith Anglo-American artists and students and the five Maya artists guests several times in a same bus, having conversations and life entertainments as ŵell. 

Abdel Hernandez San Juan, Theoretician, ethnographer and Writer/author of books such as The Intramundane Horizont: Hermeneutics and Phenomenology of Every Day Life/A Perspective from Phenomenological Sociology. Phenomenological Anthropology. The Constelations of Common Sense: Ethnography of Ontology/Sociology of common Sense and Anthropological Research Theory. Ethnography After the Death of Art: Rethinking Urban Anthropology. The Indeterminist True. Self and Acerbo: The Self and the Social Between Writing, Research and Culture. Behind the Facts: Ethnography in the First Person/The Morals of Individualism. The Given and the Ungiven: Writing and Research Between Technology and culture. Being and Monad. The Presentational Linguistic. between others

  Stablished living in Texas as permanent resident since 1998 he is a guest scholar theoretician of the Lake Forest Faculty of Sociology and Anthropology on the issue of the markets of tourism, anthropology and Maya art between the united states and Mexico, lecturer at the University of Houston Faculty of Anthropology at the Ethnometodology congress on the film Incidents of Travel: the Equinox, lecturer on his individual usa cities travels such as san Francisco, new York and louisiana, his individual fieldwork alone and his individual ethnographic and ethnometodological research alone at his 98 lab for performativity and ethnography anthropology faculty at rice university and lecturer at several programs and panels on his fieldwork and research on markets since 1994 between the united states and Venezuela on his work of anthropology The Market from Here: Mise in Scene and Experimental Ethnography such as Fictocriticism at rice anthropology, Texas 98 and LASA, Florida 2000, between others, guest theoretician lecturer and curator of the faculty of sociology and anthropology of the lake forest college and since June 1997 he is a complimentary research associate scholard at the Anthropology faculty at rice university

Notes

  The reason, endeavor, motive and purposes about being invited ŵas clearly expressed at the invitation letter, it approached me regarding the areas of research I am working on and accent on several things, ŵill be better then to directly quote the letter of invitation. 

Abdel Hernandez San Juan

Artistic Director

Transart Foundation

1412 West Alabama

Houston, Texas, 77056

  This letter is to invite you to participate as a panellist on a Forum concerning “Maya Art and Anthropology” that will be held December 2, 1999, on the Lake Forest College Campus in Myer Auditorium –Hotchkiss Building. We fell that your areas of research and expertise are especially important for our discussion in that you may provide us with special insights and understandings to the issue of concern. This panel forms part of an ethnographic installation devoted to Maya Art and Anthropology and is conceived as an opportunity to discuss the exhibition component of this interdisciplinary event. 

   This art is of interest given that it has no prior history in the artworlds of the USA. The art itself originates in the context of the touristic and anthropological fascination with the Maya, especially in the context of the anthropological and tourist markets centered on the archaeological ruins of Chichén Itzá.      

  Thus, there are some interesting questions regarding the status and value of this artwork vis a vis other aesthetic traditions such as folklore, fine art, contemporary art, modernist art, etc. 

  Given that this exhibition is the first ever in the USA within a gallery setting, some interesting debates regarding how to curate, install, and market this art come immediately to the foreground.

  These questions connect up to the histories and roles of both anthropology as a discipline of collecting-exhibiting and museums as an institution devoted to the representation of cultural forms, whether they be aesthetic or ethnographic.    

  The interesting set of issues concerns curatorial practices and how they may be used as an ethnographic practice of representing cultures and cultural forms. Additionally, we are concerned to question the nature of anthropological installations of art by asking how such may be similar or different than other modes of exhibition in practical and theoretical terms. This is an especially interesting topic when the style of the ethnographic installation of art finds theoretical inspiration from the work of conceptual artists such as Kossuth and performance theory as developed in theatre anthropology and the arts. 

   We hope that this may be of interest for you and that you can join us for the panel. I will communicate with you directly so as to address any questions regarding your role in the panel or the installation in general if you choose to accept. Please find enclosed supplemental materials to provide you with greater information about this program of activities. 

Sincerely yours

Quetzil Eugenio

Assistance Professor

Department of Sociology and Anthropology

Lake Forest College

Lake Forest, IL 60045

November 12 1999

Abdel Hernandez San Juan

Artistic Director

Transart Foundation

1412 West Alabama

Houston, Texas, 77056

      Lake Forest Colleague invited you to experience Ah Dzib Pízté, Modern Maya Art in Ancient Tradition, An Ethnographic Installation and Gallery Showing of Contemporary Maya Art in Batik Cloth Pâinting and Wood Statuary with Five Mexican Maya Artists visiting from Chichen Itza

Program of Events

Please Attend the Opening Reception

And Silent Auction to Benefit the Artists

Special Guests include President Spadafora

And the Honorable Mexican Consul Heriberto Galindo

At 7.30 pm, November 30 ninety nine

Forum Maya Art and Anthropology

Discuss the Maya Art with Artists, Anthropologists and Critics with special guest Abdel Hernandez San Juan, Cuban Artist, Art Critic and Anthropologist, Curator of the Museum of Visual Art Alejandro Otero in Caracas, 7.00 pm, Thursday, December 2

Gallery Showing of the Maya Art Exhibition

From December 1 through December 10 2.30 -5 pm

Exhibit Showings and intercultural exchanges with the Maya Artists are organized for LFC and area high school groups throughout the exhibition

On the third floor of the Duran Art Institute of Lake Forest College, Lake Forest, Illinois, 60045

Sponsored by a grand from the US-Mexico Found for culture, a binational organization comprised of the Mexican Fund for culture and the arts, Bancomer Cultural Foundation and the Rockefeller Foundation

Additional funding provided by the Dean of the Faculty, LFC and the Department of Art, Sociology-Anthropology and the Latin American Studies Program

Abdel,

Here is your travel information

Itinerary

Tuesday November 16m one thousand nine hundred ninety-nine, Continental Flight 1704

Leave: 10:50 am Houston, TX, Intercontinental, IAH

Arrive: 1.15 pm Chicago, IL, Ohare, ORD

Equipments; 737-800

Meal: Lunch Snack, Brunch Stops: none

Deat 11 A Window, -December 8, nineteen ninety-nine 1101 Leave: 10.55 am Chicago, IK Ohare, ord, Arrive, 1.40 pm Houston, Tx, Intercontinental, IAH

Continental Confirmation number 1wz4d

Travel Agency Reservation Code cititravel wMWKEH

Rand inform me that he is preparing other letter of invitation to, but due to certain difficulties of determining the date of your workshop presentation there have been delays. The issue is one of ensuring the greatest number of persons in attendance

We are looking Forward to your talks, as your work speak to many of us from different disciplines

Please contact me if you have any question about your travel arrangements

Quetzal

Depart Sociology and Anthropology

Lake Forest College

Lake Forest, Illinois, 60045

Lake Forest College

November 12 1999

Abdel Hernandez

Transart foundation

112 West Alabama

Houston, Texas, 77006

Bibliography

eugenio Quetzil, et al., eds. 1999. Ah Dzib Pízté’ Modern Maya Art in Ancient Traditions. Exhibition Catalog. Lake Forest: Lake Forest College

Eugenio, Quetzil The Invisible theater of Ethnography: Performative Principles of Fieldwork, The Open School of Anthropology and Ethnography, Anthropological Quarterly 79 (I)75-104, USA, 

Eugenio Quetzil, The Past as Transcultural Space: Using Ethnographic Installation in the study of Archaeology, the Open School of anthropology and Ethnography, and The University of Indiana, Public Archaeology: Archaeological Ethnographies, Vol.8 No, 2-3, 2009, 262-282, USA

Hernandez San Juan Abdel, The Intramundane Horizont, Hermeneutic and Phenomenology of Every Day Life: A Perspective from Phenomenological Sociology, complete works, tome VI, Book, 2017

 Hernandez San Juan Abdel, Rethinking Urban Anthropology, Complete Works, Tome VII. Book, 2019

 Hernandez San Juan Abdel, The Constellation of Common Sense: Sociology of common Sense and Anthropology Research Theory, Selected Essays, Tome VII, Book, 2019

 Hernandez san Juan Abdel, Phenomenological Anthropology, selected essays, Tome VI, Book, 2018

 Hernandez San Juan Abdel, The Thresholds of the Couple: Self-Ethnography in the First Person, Complete Works, Tome VIII. Book, 2019

Hernandez San Juan Abdel,The Equinox Film. Lecture discussed at the panel on the equinox Film, a panel coordinated and introduced by Quetzil Eugenio with conferences by Abdel Hernandez San Juan and George Marcus, Anthropology Faculty, The University of Houston, Houston, Texas, USA

Hernandez San Juan Abdel, Pierre Bourdieu, Conference Lectured at the Bag Lectures Main Room, 12.00 Am, Anthropology Faculty, Rice University, Houston, Texas, USA, 1998

 Hernandez San Juan Abdel, Art Pizte Exhibit, lecture discussed at the Faculty of sociology and anthropology lectures auditorium on the exhibit by Abdel Hernandez San Juan and Quetzil Eugenio as co-curators at Duran Gallery, a travel from Houston to lake forest and a program coordinated by Quetzil Eugenio, assistance professor of anthropology of the lake forest college, discussed as part in a panel Maya art and anthropology with conferences by Abdel Hernandez San Juan, Alaka Wally, Stephen Eisenman, Richard Towsend, Quetzil Eugenio and Lisa Breglia, Lake Forest College Faculty of Sociology and Anthropology, Lake Forest, Illinois, EUA, 1999

Tyler Stephen A, Presenter (Dis)Play, published at The Creative Spirit 31.1 (1991): 122-130

Conclusions

In his essay on the Art of Oscillation Vattimo discussed something that, although focused on art, is applied for the same reasons although this time for a field work practice in Quetzil, the axis that defines this oscillation is given in the fact that while utopia has always been essentially environmentalist, that is, it takes for granted the relationship between what we do and a fully established and restored environment in which it occurs, heterotopia presupposes a subsequent or tending deenvironmentalization, the reasons why which we have a tendency to disambiguate are given in the very fact that textual and intertextual motives begin to impregnate anthropology with continuous interferences that either move away from direct relations environmentalized to culture and not mediated by textual or less mediated instances. by them, or if at a moment of field work—those full environmental relationships exist in the spatialities and locations, the continuous relationship to culture through its textual forms and the continuous interference between texts calls into question and makes difficult the modes in the production of anthropological results, that is, works such as books, films, samples or papers, the issues of referential, denotative instance, etc., are resolved or arranged in the text of that work, through which we have what we I have called the gateway or gateways between the text and the world.

The art of oscillation consists precisely in how to resolve this dilemma between textual forms that make explicit environmentalized worlds and textual forms that, due to their textuality or intertextuality, become deenvironmentalized. The concept of remediation, proposed by Stephen A Tyler, then seems to play a significant role in this given that remedial activity allows regulating the percentage in which this art of oscillation between the de-environmentalized heteropic and the environmentalized utopian is resolved, between writing and culture, between the body and the inscriptions, between experience and documentation, between the text and the worlds, while allowing the articulation of unforeseen solutions in the ways of organizing the compositions of the author's works, in the latter, as also in what Stephen calls Terapon, the therapies resulting from these remediations, our anthropologies, mine and yours do share a more explicit horizon.

      References

1997- The Equinox Film. By Abdel Hernandez San Juan, Lecture discussed at the panel on the equinox Film, a panel coordinated and introduced by Quetzil Eugenio with conferences by Abdel Hernandez San Juan and George Marcus, Anthropology Faculty, The University of Houston, Houston, Texas, USA

1998- Pierre Bourdieu. By Abdel Hernandez San Juan, Conference Lectured at the Bag Lectures Main Room, 12.00 Am, Anthropology Faculty, Rice University, Houston, Texas, USA

1998- Lab of Performativity and Ethnography. By Abdel Hernandez San Juan, series of Abdel Hernandez San Juan theoretical Lectures and lectures on his research method, a programs of his USA Cities Travels such as New York, san Francisco, Berkeley, louisiana, and a program of his individual ethnometodological research, ethnographic and performativity research in usa and two series of theoretical dialogues Threshold between Abdel Hernandez San Juan and Stephen A Tyler and Ethnographies after ethnography. By Abdel Hernandez San Juan and George Marcus, with the participation of Abdel guest Quetzil Eugenio, professor of anthropology in the university of Houston and Surpic Angelini, transart foundation president, printed poster program, ocre Kraft paper colour, printed by bubu, The Circle of the Lake, Rice University, Houston, Texas, USA

1998- Stephen A Tyler. By Abdel Hernandez San Juan, Lab of Performativity and Ethnography, The Circle of the Lake, Rice University, Houston, Texas, USA

1998-2002-Theoretical Interventions. By Abdel Hernandez San Juan, Interventions to Bag lectures main room faculty and guest’s lectures, pink and clear green poster programs announced, 12.00 am, Lectured by Abdel in English, Faculty of Anthropology, Rice University, Houston, Texas, USA

1998- Living Between Cultures. By Abdel Hernandez San Juan, Conference lectured at the Hispanic Institute of culture, and late developed as a one year seminar of one lecture a week on the same issue developed as a theoretical seminar in auto anthropology and autoethnography addressed to himself as emigrant in the united states and before in Venezuela and to the participants audience composed by emigrants who taked the seminar including Mexican-Americans and Argentineans Americans USA emigrants, Lucila, graciela and her husband, Alonso and Monica, alma and Antonio, an Abdel private busssines, coordinated and organized by Diana Gland, Lab of Performativity and Ethnography, The Circle of the Lake, Rice University, Houston, Texas, USA

1998.Theoretical reading and discussion Stephen A Tyler Paper Alternatives Linguistic: Remediation’s and or Prolegomenon to a next linguistic. By Abdel Hernandez San Juan, with Abdel guest Quetzil Eugenio, professor of anthropology of the university of Houston, Abdel apartment at Cambridge course, Lab for Performativity and Ethnography, The Circle of the Lake, Rice University, Houston, Texas, USA

1999- Art Pizte Exhibit. By Abdel Hernandez San Juan, lecture discussed at the Faculty of sociology and anthropology lectures auditorium on the exhibit by Abdel Hernandez San Juan and Quetzil Eugenio as co-curators at Duran Gallery, a travel from Houston to lake forest and a program coordinated by Quetzil Eugenio, assistance professor of anthropology of the lake forest college, discussed as part in a panel Maya art and anthropology with conferences by Abdel Hernandez San Juan, Alaka Wally, Stephen Eisenman, Richard Towsend, Quetzil Eugenio and Lisa Breglia, Lake Forest College Faculty of Sociology and Anthropology, Lake Forest, Illinois, EUA, 1999

Bibliography

Eugenio Quetzil, letter to Abdel Hernandez San Juan as transart foundation artistic director, Lake Forest College, Faculty of Sociology and anthropology, Lake Forest College, Illinois, USA, 1999

Eugenio Quetzil, et al., eds. 1999. Ah Dzib Pízté’ Modern Maya Art in Ancient Traditions. Exhibition Catalog. Lake Forest: Lake Forest College

Eugenio, Quetzil, The Invisible theater of Ethnography: Performative Principles of Fieldwork, The Open School of Anthropology and Ethnography, Anthropological Quarterly 79 (I)75-104, USA, 

Eugenio Quetzil, The Past as Transcultural Space: Using Ethnographic Installation in the study of Archaeology, the Open School of anthropology and Ethnography, and The University of Indiana, Public Archaeology: Archaeological Ethnographies, Vol.8 No, 2-3, 2009, 262-282, USA

Hernandez San Juan Abdel, Rethinking Urban Anthropology, Complete works, Tome VII

Hernandez San Juan Abdel, The Intramundane Horizont, Complete Works, Tome VI, Book, 2017

Hernandez San Juan Abdel, Self and Acerbo: The self and the social Between writing, research and culture, complete works, tome VIII

Hernandez San Juan Abdel, The Presentational Linguistic, Complete works, tome III, Book, 2005

Hernandez San Juan Abdel, Being and Monad, Complete works, tome IV, Book, 2006

Hernandez San Juan Abdel, The Given and the Ungiven, Complete works, tome V, book, 2007

Hernandez San Juan Abdel, The Intangible, The Presentational Linguistic, Complete Works, Tome III

Hernandez San Juan Abdel, The Intangible, the intangible, selected essays

Hernandez San Juan Abdel, The Exegesis of the Texts of Culture, in Pp, Self and Acerbo: The Self and the Social Between Writing, Research and Culture, Complete Works, Tome IX

Hernandez San Juan Abdel, the indeterminist true, selected essays

Hernandez San Juan Abdel, the constellation of common Sense, sociology of common sense and Anthropology Research Theory, selected essays

Hernandez San Juan Abdel, Thinking Science: New Horizonts of Phenomenological sociology, book

Hernandez San Juan abdel, Rethinking Symbolism, Book

Hernandez San Juan Abdel 1997-The Equinox Film. By Abdel Hernandez San Juan, Lecture discussed in person at the panel on the equinox Film, a panel coordinated and introduced by Quetzil Eugenio with conferences by Abdel Hernandez San Juan Anthropology Faculty, The University of Houston, Houston, Texas, USA

Hernandez San Juan Abdel 1997- The Eclipse of Evocation. By Abdel Hernandez San Juan, paper, 8055 Cambridge Street, 83, Houston, Texas, 77054, translated by Surpic Angelini, Houston, Texas, 1997

Abdel Hernandez San Juan 1998- Pierre Bourdieu. By Abdel Hernandez San Juan, Conference Lectured in person at the Bag Lectures Main Room, 12.00 Am, coordinated by faculty students, Anthropology Faculty, Rice University, Houston, Texas, USA

Abdel Hernandez San Juan 1998- Living Between Cultures. By Abdel Hernandez San Juan, Conference lectured in person at the Hispanic Institute of culture, coordinated by Diana gland, Houston, Texas, USA

Abdel Hernandez San Juan 1998- Living Between Cultures. By Abdel Hernandez San Juan, one-year theoretical seminar of one lecture a week discussed in person, coordinated by Diana gland, tape recorded, Houston, Texas, USA

Abdel Hernandez San Juan 1998- Lab of Performativity, Ethnometodology in sociology and Ethnography. By Abdel Hernandez San Juan, program of theoretical lectures, usa city travels, fieldwork and dialogues, discussed in person, coordinated by Abdel Hernandez San Juan, printed poster, tape recorded, with the participation of Quetzil Eugenio, James Foubiam, Stephen a Tyler, Surpic Angelini, Rice University, Houston, Texas, USA

Hernandez San Juan Abdel 1998-2003-Theoretical Interventions. By Abdel Hernandez San Juan, I at the Bag lectures main room 12.00 am, Faculty of Anthropology, Rice University, Houston, Texas, USA

Hernandez San Juan Abdel 1999- Art Pizte Exhibit: A Perspective from art critique. By Abdel Hernandez San Juan, conference lectured in person at the Faculty of sociology and anthropology lectures auditorium on the museographizing of the exhibit of Quetzil Eugenio anthropology, five Maya artists and Quetzil collection of Maya art, a curatorial museography co-curated by Abdel Hernandez San Juan and Quetzil Eugenio as co-curators at Duran Gallery, with the participation of Lisa Breglia, a travel from Houston to lake forest and a program coordinated by Quetzil Eugenio, assistance professor of anthropology of the lake forest college, discussed as part in a panel Maya art and anthropology with conferences by Abdel Hernandez San Juan, Alaka Wally, Stephen Eisenman, Richard Towsend, Quetzil Eugenio and Lisa Breglia, Lake Forest College Faculty of Sociology and Anthropology, included a workshop and was tape recorded and film recorded Lake Forest college, Illinois, EUA, 1999

Hernandez San Juan Abdel 2000-The Market from Here. By Abdel Hernandez San Juan, conference Lectured in person at the LASA congress panel, Quetzil Eugenio and Lisa Breglia, coordinated by Quetzil Eugenio, Houston, Texas, USA

Hernandez San Juan Abdel, Modern and Contemporary Sociology. By Abdel Hernandez San Juan, series of lectures discussed at the Central Bank of Venezuela, coordinated by Bárbara Rodríguez y Asociados, Caracas, Venezuela, 1994

Hernandez San Juan Abdel, Aesthetics in the XX Century. By Abdel Hernandez San Juan, Serie of three months lectures in aesthetic theory discussed at the Federico Brand Art Institute, coordinated by Sol Bendayan, San Bernardino, Caracas, Venezuela, 1992

Hernandez San Juan Abdel 1994-The Museum and the Market. By Abdel Hernandez San Juan, research project on the relation Between the Museum and the market developed through Museum collections, videotecas and phototecas and within fieldwork at the coche market, alejandro otero Museum of visual art and cid, center of research iuesapar, Caracas

Hernandez San Juan Abdel 1994-1996- The Urban Markets: Fieldwork. By Abdel Hernandez San Juan, research project of fieldwork immersion in urban markets, alejandro otero Museum of visual art and cid, center of research iuesapar, Caracas

Hernandez San Juan Abdel and Stephen A Tyler 1997- Evocation. A Theoretical dialogue by Abdel Hernandez San Juan and Stephen A Tyler, two papers, 8055 Cambridge Street, 83, Houston, Texas, 77054

Hernandez San Juan Abdel and Quetzil Eugenio 1997-Between seen and scenes. By Abdel Hernandez San Juan and Quetzil Eugenio, Rice University and the university of Houston, Houston, Texas, usa

Hernandez san Juan Abdel, Quetzil Eugenio and Lisa Breglia 1997-1998-Readings of papers and theoretical dialogues including discussion on graphic issues, documentary visual materials and dialogues on transcultural and visual anthropology issues. By Abdel Hernandez san Juan, Quetzil Eugenio and Lisa Breglia, Quetzil apartment, Houston, Texas, usa

Hernandez San Juan Abdel, with Quetzil Eugenio 1998- Reading and Discussing of Prolegomena to a next linguistic of Stephen a Tyler. By Abdel Hernandez San Juan, with Quetzil Eugenio, 8055 Cambridge Street, 83, Houston, Texas, 77054, Houston, Texas, usa, 1998

Hernandez San Juan Abdel and Quetzil Eugenio 1999- Art Pizte Exhibit: Anthropology and Maya art, a curatorial practice museographizing anthropology in an art gallery, a collection and an exhibit of Maya art, co-curated and co-museographized by Abdel Hernandez San Juan and Quetzil Eugenio with Lisa Breglia, Art Institute, Lake Forest Faculty of Sociology and Anthropology, Lake Forest College, Illinois, coordinated by Quetzil Eugenio, tape recorded and film recorded, Illinois, USA

Tyler, Stephen A, Presenter (Dis) Play, published at The Creative Spirit 31.1 (1991): 122-130

Tyler Stephen A, Prolegomena to the next linguistic, Alternative Linguistics. Descriptive and Theoretical modes, edited by Philip W. David, John Benjamin’s publishing company, Rice University, Houston, Texas. 1995

Tyler. Stephen A, Post-Modern Ethnography, The Unspeakable, Discourse, Rhetoric and Dialogue in the Posmodern World, Wisconsin University Press

Tyler Stephen A, Evocation, The Unwriteable: A Response to Abdel Hernandez San Juan, Sept 9, Rice University, Houston, Texas, USA, 1997

Tyler A Stephen, emails to Abdel Hernandez San Juan, 2013-2014