The Experts below are selected from a list of 9036 Experts worldwide ranked by ideXlab platform
Sarah Pink - One of the best experts on this subject based on the ideXlab platform.
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digital Visual sensory design Anthropology ethnography imagination and intervention
Arts and Humanities in Higher Education, 2014Co-Authors: Sarah PinkAbstract:In this article I outline how a digital–Visual–sensory approach to anthropological ethnography might participate in the making of relationship between design and Anthropology. While design Anthropology is itself coming of age, the potential of its relationship with applied Visual Anthropology methodology and theory has not been considered in the existing debates in this field. Here I bring this question to the centre of the discussion through a reflection on the themes, issues and limitations of applied Visual Anthropology and how, with the ability of design thinking to engage with the future, this might develop. I argue then for a future-oriented applied Visual Anthropology that engages with the everyday, ethnography and design as processual and situated at the innovative edge of what is possible.
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Images, Senses and Applications: Engaging Visual Anthropology
Visual Anthropology, 2011Co-Authors: Sarah PinkAbstract:In this article I discuss how Visual Anthropology methods are advancing in a present-day environment where applied, activist, public and interdisciplinary anthropologies are increasingly central. In earlier work [Pink 2004, 2006, 2007a] I outlined the field of an applied Visual Anthropology, and discussed the potential of Visual methods and media in the production of a public Anthropology [Pink 2006]. Here I build on this to suggest how recent Visual Anthropology practices might both contribute to and resolve issues relating to contemporary debates in applied and public Anthropology and the relationship between scholarly research and social intervention.
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digital Visual Anthropology potential and challenges
2011Co-Authors: Sarah PinkAbstract:This chapter examines the relationship between Visual Anthropology and digital media. Historically this discussion starts in the 1980s, when the precursors of contemporary digital Visual Anthropology were emerging as laser discs. It explores how digital media have become increasingly accessible to Visual anthropologists and are not only used by those with 'Anthropology and computing' expertise but have become integral to three areas of Visual Anthropology: as a component of research methods; as a form of 'Visual culture' for analysis; and as a means of representing and disseminating (audio) Visual knowledge.
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the future of Visual Anthropology engaging the senses
2006Co-Authors: Sarah PinkAbstract:From an eminent author in the field, The Future of Visual Anthropology develops a new approach to Visual Anthropology and presents a groundbreaking examination of developments within the field and the way forward for the subdiscipline in the twenty-first century. The explosion of Visual media in recent years has generated a wide range of Visual and digital technologies which have transformed Visual research and analysis. The result is an exciting new interdisciplinary approach of great potential influence for the future of social/cultural Anthropology. Sarah Pink argues that this potential can be harnessed by engaging Visual Anthropology with its wider contexts, including: the increasing use of Visual research methods across the social sciences and humanities the growth in popularity of the Visual as methodology and object of analysis within mainstream Anthropology and applied Anthropology the growing interest in 'Anthropology of the senses' and media Anthropology the development of new Visual technologies that allow anthropologists to work in new ways. This book has immense interdisciplinary potential, and is essential reading for students, researchers and practitioners of Visual Anthropology, media Anthropology, Visual cultural studies, media studies and sociology.
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ethnography bytes back digitalising Visual Anthropology
Media international Australia incorporating culture and policy, 2005Co-Authors: Graham Murdock, Sarah PinkAbstract:The field of digital methods for qualitative research is a rapidly developing one. More and more researchers are researching the social, cultural, political, anthropological and other dimensions of computer-mediated communication (CMC), or using CMC as a means of generating and analysing research data. There is now a proliferating diversity of terms, including digital methods, online methods, virtual ethnography, hypermedia methods, and so forth, that requires clarification and classification. This four-volume set brings together the most important and influential articles that have been published in this area and which enable the reader to understand the implications of digital technology for all aspects and phases of qualitative research design and dissemination.
Barth Theodor - One of the best experts on this subject based on the ideXlab platform.
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black spot #01-06
KHiO, 2021Co-Authors: Barth TheodorAbstract:The flyer series draws up an often neglected discussion on late mediaeval/renaissance backdrop of modernism: whether referring to the Bauhaus, Samuel Beckett, Marcel Duchamp or Le Corbusier. The series are panels developed in the wake of discussions related to this topic, with PhD fellow Bjørn Blikstad (furniture). They are prompted by his work, Georges Didi-Huberman’s project of Visual Anthropology and a perceived need to deconstruct C.G. Jung. It is not possible to selve into the Visual Anthropology involving the crafts without passing through the alchemical heritage of emblems. Given that a turn to the crafts will determine a vantage point on what art does (as revealed in what it shows). In this realm desire/libido and metaphysics—the gut and the stars—are entangled. Finding a method to deal with the tangle (their superposition and intra-action rather than separation) is a worthy challenge for contemporary artistic research. Do we find Anthropology in the repertoire of an expanded art history? Or, a related question, will the expanded field of performance—or, performativity—prove mediations in subject matters, and areas, that we walk around? The black spots on the “map”. Images as panels, readable as an atlas. Reading what was never written. Performance
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black spot #01-06
KHiO, 2021Co-Authors: Barth TheodorAbstract:Flyer set of 6 (1HEX): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—crossover.The flyer series draws up an often neglected discussion on late mediaeval/renaissance backdrop of modernism: whether referring to the Bauhaus, Samuel Beckett, Marcel Duchamp or Le Corbusier. The series are panels developed in the wake of discussions related to this topic, with PhD fellow Bjørn Blikstad (furniture). They are prompted by his work, Georges Didi-Huberman’s project of Visual Anthropology and a perceived need to deconstruct C.G. Jung. It is not possible to selve into the Visual Anthropology involving the crafts without passing through the alchemical heritage of emblems. Given that a turn to the crafts will determine a vantage point on what art does (as revealed in what it shows). In this realm desire/libido and metaphysics—the gut and the stars—are entangled. Finding a method to deal with the tangle (their superposition and intra-action rather than separation) is a worthy challenge for contemporary artistic research. Do we find Anthropology in the repertoire of an expanded art history? Or, a related question, will the expanded field of performance—or, performativity—prove mediations in subject matters, and areas, that we walk around? The black spots on the “map”. Images as panels, readable as an atlas. Reading what was never written. Performance.draf
Ulla D Berg - One of the best experts on this subject based on the ideXlab platform.
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documenting latinx lives Visual Anthropology and latinx studies
Latino Studies, 2019Co-Authors: Ulla D BergAbstract:This essay reflects on teaching college students to use the medium of film/video to explore contemporary issues that affect the everyday lives of Latinx populations in the United States. Drawing on experiences with (mostly Latinx) students in a documentary filmmaking class at Rutgers University, as well as on my own Visual, documentary, and ethnographic practice at the intersection of Latinx studies and Visual Anthropology, I discuss the distinct representational techniques, dilemmas and possibilities that different storytelling strategies in ethnographic and documentary films hold for representing and knowing Latinx social experiences, as well as some of the steps to follow when contemplating the use of film and video in the context of ethnographic projects in Latinx communities. In doing so, I address some key issues that have shaped past and current debates about the Visual representation and circulation of Latinx communities, both in Latinx studies and in Visual Anthropology.
Anna Grimshaw - One of the best experts on this subject based on the ideXlab platform.
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eyeing the field new horizons for Visual Anthropology
Journal of Media Practice, 2002Co-Authors: Anna GrimshawAbstract:AbstractAs a member of staff at the Granada Centre for Visual Anthropology, I have seen it emerge over the last decade as a critical site for anthropological film-making. The primary focus of the Centre's operations is its Masters course that offers training in documentary film-making techniques to Anthropology graduates. There is, however, considerable confusion among both anthropologists and film-makers about the status of anthropological documentary. This essay explores what is distinctive about anthropological film-making practice. I will argue that it is no longer about the exotic or about the documentation of disappearing worlds; it also makes no claims for science and objectivity. Instead it is distinguished by a unique sensibility rooted in experiential knowledge. The cultivation of an anthropological way of seeing also offers an unusual perspective on other Visual forms. I believe that the Granada Centre has much to gain from developing collaborations with those working in adjacent sites.
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teaching Visual Anthropology notes from the field
Ethnos, 2001Co-Authors: Anna GrimshawAbstract:When I joined the Granada Centre in 1991 I was concerned to explore the field of Visual Anthropology by means of an intellectually coherent approach that encompassed research, teaching and filmmaking practices. At the centre of this approach was an interest in the relationship between vision and knowledge in ethnographic enquiry. My recent book, 'The Ethnographer's Eye', was an attempt to establish a broader intellectual context for the examination of vision within Anthropology. In this essay I use an ethnographer's eye to look at the set of teaching techniques through which this understanding was gained. The reflections I offer here arise from a desire to understand better the relationship between teaching practice and academic writing, Visual Anthropology and television documentary. A critical appraisal of the Granada Centre as a fieldwork site makes possible the re-imagining of Anthropology as a Visual project.
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fields of vision essays in film studies Visual Anthropology and photography
Journal of the Royal Anthropological Institute, 1996Co-Authors: Anna Grimshaw, Leslie Devereux, Roger HillmanAbstract:Filmed images dominate our time, from the movies and TV that entertain us to the news and documentary that inform us and shape our cultural vocabulary. Crossing disciplinary boundaries, "Fields of Vision" is a path-breaking collection that inquires into the power (and limits) of film and photography to make sense of ourselves and others. As critics, social scientists, filmmakers, and literary scholars, the contributors converge on the issues of representation and the construction of Visual meaning across cultures. From the dismembered bodies of horror film to the exotic bodies of ethnographic film and the gorgeous bodies of romantic cinema, "Fields of Vision" moves through eras, genres, and societies. Always asking how images work to produce meaning, the essays address the way the 'real' on film creates fantasy, news, as well as 'science', and considers this problematic process as cultural boundaries are crossed. One essay discusses the effects of Hollywood's high-capital, world-wide commercial hegemony on local and non-Western cinemas, while another explores the response of indigenous people in central Australia to the forces of mass media and video. Other essays uncover the work of the unconscious in cinema, the shaping of 'female spectatorship' by the 'women's film' genre of the 1920s, and the effects of the personal and subjective in documentary films and the photographs of war reportage. In illuminating dark, elided, or wilfully neglected areas of representation, these essays uncover new fields of vision.
Jennifer Deger - One of the best experts on this subject based on the ideXlab platform.
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Visual Anthropology and the cinema of robert gardner review of ilisa barbash and lucien taylor eds the cinema of robert gardner
Asia Pacific Journal of Anthropology, 2009Co-Authors: Jennifer DegerAbstract:[Extract] Although Robert Gardner has himself claimed an ambivalent relationship to Anthropology and its endeavours, he remains among the most celebrated of ethnographic filmmakers. Director of the Film Study Center at Harvard University from 1957 to 1997, Gardner has long been regarded as Visual Anthropology's enfant terrible, his poetic sensibility and grandiose themes famously dividing anthropological audiences—even as they attract wider audiences than most ethnographic films. Early debates about the nature of the split reaction to his work was figured in terms of a dichotomy between art and science (with Gardner cast on the side of 'art'), a dubious and unhelpful proposition that failed to engage with the epistemological complexities of film and the encounters it mediates. Later critics, although appreciative of a move towards ethnopoetics, took Gardner to task for the 'othering' of his subjects, arguing that his cultural and methodological distance from his filmic subjects produced 'texts of capture' (Russell 1999, p. 189). Such critiques prefigured my own early, brittle-eyed lectures on the films Dead Birds (1964) and Forest of Bliss (1985), in which I blithely condemned Gardner as irredeemably romantic and ethnographically irresponsible.
