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An object biography is a story told through an object. The term biography literally means the writing of a life, a life told as a story. Usually, a biography is meant to describe a person's life, but a thing can speak volumes about its makers and possessors, its various uses, its inherent qualities. Object biographies can thus provide key material and symbolic indicators that illuminate the values and beliefs of consumer culture.

Igor Kopytoff argued that just as the commoditization of persons could have a biographical trajectory, so too could objects be viewed biographically as having “careers.” He used enslavement as an example of the process of turning a person into a commodity but one in which the slave could take on a new identity, even while remaining a potential commodity of future exchange. Things could be viewed similarly as involving telling trajectories between commoditization and the singular, between signifying exchange value, or signifying personal meaning. In their book, The Meaning of Things, Mihaly Csikzentmihalyi and Eugene Rochberg-Halton systematically examined the ways transactions between people and their possessions reveal much about identity, family relationships, and the making of meaning in domestic life.

The stories told through objects have played a crucial role traditionally in archaeology and more recently an increasingly significant one in anthropology, history, sociology, and other disciplines, as well as emergent fields such as material culture and consumption studies. Objects can act as cultural indicators through which inferences about people, institutions, practices, beliefs, places, epochs, and even evolution can be made. Consumption of objects involves beliefs attributed to or deriving from objects, which become sources of study by consumption researchers. Object biographies may be taken as the stories people tell about their things or as the stories' things, as objects, themselves tell.

What Things Say

An object such as a bone can reveal to an archaeologist much about a creature, just as a stone can reveal how it might have been used as an artifact, that is, a humanly shaped object. A diamond ring is an artifact whose biography involves its crafting into being, but likely more importantly for its possessor, it would concern its meaning as a commodity purchased as a gift to signify a wedding. But it could also be a family heirloom handed down for generations. It could be a stolen object. Material culture tells a story, though usually not the whole story.

Archaeologists and historians have traditionally dated the swaths of history by the things that humans fashion or use: the Stone Age, the Bronze Age, the Iron Age. And these traditional categories could be followed by the steel age, the atomic age, and now perhaps the silicon age. These “ages” are attempts to picture human prehistory and history through material indicators, implying that those objects provide the most accurate way to depict human development. Yet hard material indicators that endure may not provide traces of the social relations they were used for or involved in. Similarly, the horticultural practices of prehistory that relied on awareness of plants rather than hard, enduring physical techniques do not leave many traces either, despite their centrality to human development and culture. Still, the human romance with things was indeed crucial to human evolution, and it makes sense to see transactions with objects as not only enabling a coevolution of people and things but also as significant for the biographical passage from infancy to adulthood.

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