INTRODUCTION
A THICK DESCRIPTION AMID
AUTHORSHIPS, AUDIENCES, AND
AGENCIES IN THE NINETIES
WHAT NINETIES, WHAT REENACTMENTS, WHY?
this book grew out of, through, and back into the nineties. Something,
or rather, some many things, happened in the nineties, things that set us
up for now, whenever that is. This book keeps trying to work among some
things of the nineties, work among them and as them, glimpsing our
‘‘other-globalizations’’ mixed in among the ways and places at work in,
around, and transporting through culture industries, cultural studies, and
feminist analysis.∞ Among these things of the nineties are reenactments,
both the focus and theme of this book.
Reenactments, you might say, what do you mean? Well, I do mean those
reenactments we might most immediately think of, hobbyists reenacting
battles of the War of the Roses for example or interpreters at Colonial
Williamsburg showing visitors how to make candles, but I am also working
with a notion of reenactment that has other layers of meaning and scope
too. Some of these other layers, more inclusive and perhaps less obvious,
connect additional activities, venues, objects, skills, people, and circum-
stances together with such living history reenactments.
Saying ‘‘additional’’ and ‘‘together with’’ is in order to emphasize an
extensive and overlapping range. Such an emphasis recognizes all these
nodes among the cobbled together ranging infrastructures we are engaging
today. Infrastructures are piled-upon assemblages within which there are
many discontinuities but also connections, some deliberative, some in-
advertent. These infrastructural connections or flexible knowledges make
up a networked and emergent reorganization of knowledge making and
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