Open ethnography | Etnografía en abierto
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Open ethnography | Etnografía en abierto
Reflections & debates on 'open' ethnographic strategies for a Public Anthropology | Reflexiones y debates sobre estrategias etnográficas "abiertas/en abierto" para una Antropología de Orientación Pública
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Documentation, Disappearance and the Representation of Live Performance | M. Reason | Palgrave Macmillan

Documentation, Disappearance and the Representation of Live Performance | M. Reason | Palgrave Macmillan | Open ethnography | Etnografía en abierto | Scoop.it

The documentation of practice is one of the principle concerns of performance studies. Focusing on contemporary performance practice and with emphasis on the transformative impact of video, photography and writing, this book explores the ideological, practical, and representational implications of knowing performance through its documentations.

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Prospectus | Ethnographic Terminalia

Prospectus | Ethnographic Terminalia | Open ethnography | Etnografía en abierto | Scoop.it
No longer content to theorize the ends of the discipline and possibilities of new media, new locations, or new methods of asking old questions, Ethnographic Terminalia is working to develop generative ethnographies that do not subordinate the sensorium to the expository and theoretical text or monograph. The terminus is the end, the boundary, and the border. It is also a beginning, its own place, a site of experience and encounter.
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Disease Maps

Disease Maps | Open ethnography | Etnografía en abierto | Scoop.it
Nuestra misión:  Ayudar a personas con enfermedades crónicas, poco frecuentes y otros síndromes y condiciones y concienciar a la sociedad sobre ellas.
Conectamos a personas con enfermedades crónicas, poco frecuentes y otros síndromes y condiciones a través de mapas. Queremos concienciar a la sociedad sobre estas condiciones y mostrar a las personas que las sufren que no están solas. Hay miles de personas viviendo una situación parecida y dispuestas a ayudar a otras a encontrar un camino para mejorar.
 
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Italian Diary Archive Rewrites History from the Bottom Up through a Personal Story Commons

Italian Diary Archive Rewrites History from the Bottom Up through a Personal Story Commons | Open ethnography | Etnografía en abierto | Scoop.it

The Fondazione Archivio Diaristico Nazionale (National Diary Archive Foundation) is an award-winning public archive in the small Tuscan town of Pieve Santo Stefano. The Archive collects the diaries, letters and autobiographical memories of ordinary people. The Archive, and its adjacent museum, brilliantly illuminates a revealing slice of the history of Italy and its people. It has collected over 7,500 stories that cross local and national borders. The universal power of stories and the bottom up approach to culture and knowledge building, together with the "glocal" aspect of the Archive, makes it one of the world's most innovative archives.

 
Tomás Sánchez Criado's insight:

"[…] Tutino’s archive idea has a lot of political value in itself: he wanted to give a voice to those that don’t have it, telling history through common stories, in a bottom-up approach. Tutino was the one saving them from oblivion, and thinking beyond the idea of a library or a mere deposit. He used the word “vivaio” (nursery), meaning the place where new lives grow and develop. So our job—to give value to the little plants, lives, stories—consists of giving them new life, while respecting them and their authors. 

Giving value to the stories means, certainly, maintaining and protecting them (we are in the Italian Code of Cultural Heritage and Landscape), and besides that it means facilitating the diffusion of the Archive concept into as many fields as possible: we still do that by publishing the stories as we used to, but we also do it by investing in complex and innovative projects, such as the Impronte Digitali (Finger Prints) project, funded by Fondazione Telecom, through which we’re digitizing all the memory heritage in order to share it with a vast community and to make it live forever."

 
"[…] The Archive was created by its founder as a place where people could share and cultivate relationships. Today they’re trendy words, but we have been using them for more than thirty years now. Giving away your life story, your own diary, is a special gesture of donation based on trust, and it is a considerable way of sharing.

Since we started working specifically on fundraising, in March of 2010, we have enhanced our relationships. In fact, that is exactly what fundraising is all about: creating relationships, drawing a link between the benefactor and the beneficiary to support a cause.

[…] Nowadays people maintain their relationship with the Archive thanks to the internet and especially to social media. Some diarists and friends of the Archive open their houses to us and become people we usually see and hear from. They simply become part of our lives."

 

"[…] Volunteers are essential to our cultural institution and volunteering is, above all, our core activity […] all the people who work for the Archive call themselves volunteers, even when they get a remuneration. Volunteers do everything: they read the diaries, transcribe, catalogue and digitize them. They greet the diarists when they come to give their memories, introduce them around, and guide them to the Museum. Volunteers set up events, run the website, social media pages, newsletters. They edit books, do the fundraising and manage European projects. They also do translations, public relations, they write articles, take pictures, set up exhibitions, moderate presentations, make public readings, lead autobiographical workshops and run many other activities. To rely on such a specialized, enthusiastic, helpful and always available group is the fortune and the strength of this institution."

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Un breve paseo por el mapeo colectivo | Iconoclasistas

Desde un power point que usamos en algunas presentaciones durante el 2012 hicimos este cortito que es la columna vertebral de la publicación en la que estamos trabajando. (Música Hey Doobie de Jared Balogh bajo licencia creative commons)

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Sissel Tolaas: The world from the perspective of the nose

HUMAN DESIGN or EVOLUTION? lecture series 6.2.2012  

Sissel Tolaas has concentrated her work on the topic of SMELL / SMELL & LANGUAGE – COMMUNICATON since 1990, within different sciences, fields of art and disciplines. 

She established the research lab IFF re_searchLab Berlin for smell & communication in Berlin in January 2004, which is supported by IFF (International Flavors & Fragrances Inc., New York).

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What a City's 'Soundscape' Reveals About Its Character

What a City's 'Soundscape' Reveals About Its Character | Open ethnography | Etnografía en abierto | Scoop.it
Researchers at MIT are asking people to record the sounds of their streets, which can reveal the social and economic dynamics of a place.
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Stop the Academic World, I Wanna Get Off in the Quai de Branly. Of sketchbooks, museums and anthropology

Stop the Academic World, I Wanna Get Off in the Quai de Branly. Of sketchbooks, museums and anthropology | Open ethnography | Etnografía en abierto | Scoop.it
Drawing as part of ethnographic observation practices has been systematically undervalued in anthropology, due to an academic tradition that has long favoured realist writing.
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Dr. Annelise Riles - "After the Document: Collaboration"

"After the Document: Collaboration"/ "Après le Document: La Collaboration"
Dr. Annelise Riles, Jack G. Clarke Professor of Far East Legal Studies and Professor of Anthropology, Cornell University

As I argued in Documents: Artifacts of Modern Knowledge (2006), documents have a special status, as ethnographic objects, because of the way they collapse the distance between the subject and object of analysis since ethnography is inherently also a documentary act. Yet the introductory essay to that volume ended its reflection on the epistemological and methodological predicaments and possibilities inherent in documents, as ethnographic objects/methods in a strange place: with the imperative of collaboration, as a new modality of ethnographic work beyond documentation, representation and comparison.
At first, collaboration sounds like something of a let-down: on the one hand, anthropologists have always been collaborating with their interlocutors in the production of ethnographic knowledge. On the other hand, so many disciplines we might wish to differentiate from our own--from management theory to political activism--celebrate collaboration as a methodology. Like happiness, or healthiness, collaboration would seem to be something no one is really against, but about which very little can be said. Why and how would collaboration become anything specifically meaningful, let alone ethical, for the ethnographer?
And yet what to make of the recent surge of new kinds of ethnographic collaborations--self-conscious efforts at innovation in ethnographic method in which, precisely, the subject and object, method and artifact of ethnography are collapsed? What is intriguing is that these collaborative projects have begun to appear precisely in those areas of research in which anthropologists find themselves confronting others' documentary practices: the sciences, legal studies, and new media.
This lecture will theorize the question of documentary collaboration, as a particular kind of ethnographic present, with particular emphasis on a Pacific Rim-focused project I am coordinating, known as Meridian 180. Through the prism of collaboration, I will revisit why the anthropology of the document represented a cusp in the contemporary history of the discipline and ask what we have since become.

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Camera as cultural critique: Transcultural dialogue in a digitized world

Cross-cultural understanding is a major challenge in a world characterized by increasing global interdependence but also by deepening ethnic, religious, and national divides. Participatory forms of research that employ audiovisual media provide an important but still underexploited resource for dealing with this challenge. This project aims to develop audiovisual and participatory research practices to enhance cross-cultural communication as well as cultural critique, since we assume that transcultural dialogues are driven by and stimulate cultural reflection and self-critique.

Our central hypothesis is that audiovisual means of inquiry afford ways of dealing with the immediacy of social life that avoid the tendency of much social analysis to accept premature conceptual closure and temporal reduction. In a contemporary world saturated with audiovisual and digital media, this project explores how platforms for transcultural dialogue and critique can be established by using digital social media, visualization through photo and film, and interactive exhibitions.

About the research project

Period
1.9.2013 - 31.8.2016.

Funding
The Danish Research Council for Culture and Communication (FKK).

Grant recipient
Ton Otto

Researchers
Peter Ian Crawford, Arine Kirstein Høgel, Christian Suhr, Christian Vium, Karen Waltorp.

Research programme affiliation
Part of Contemporary Ethnography at the School of Culture and Society, Faculty of Arts, Aarhus University.

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INVESTIGACIONES AL LÍMITE / Una curadoría de colaboraciones experimentales | Intermediae

INVESTIGACIONES AL LÍMITE / Una curadoría de colaboraciones experimentales | Intermediae | Open ethnography | Etnografía en abierto | Scoop.it

Los intercambios e inspiraciones cruzadas entre las ciencias sociales y el mundo del arte han sido habituales y fructíferos desde hace décadas. Mientras el arte ha incorporado formas y métodos de investigación desarrollados en las ciencias sociales sus prácticas creativas han inspirado intervenciones fértiles en los modos de representación, la ortodoxia metodológica y los estilos de pensamiento propios de las ciencias sociales. La intensificación de ese intercambio en tiempos recientes podríamos considerarla como una búsqueda por renovar y ampliar los repertorios epistémicos para la producción de conocimiento en ambos dominios. 

Ese diálogo forma parte de una expansión generalizada del equipamiento epistémico de las ciencias sociales (métodos empíricos, formatos de representación, infraestructuras, etc.) que incluye la incorporación de nuevas infraestructuras (digitales), prácticas propias de otros dominios (performance, comisariado, diseño, etc.) y el desarrollo de una amplia gama de colaboraciones con distintos ámbitos de experticia (arte, arquitectura, activismo…). Tenemos la sospecha de que esas intervenciones son una respuesta a la constatación de que necesitamos nuevas formas de implicación política y producción de conocimiento que respondan a la complejidad de nuestras sociedades contemporáneas.                              

Lo que hemos llamado ‘colaboraciones experimentales’ en la etnografía constituye una propuesta que sigue esa senda de invención epistémica creativa. Las colaboraciones experimentales pretenden describir hibridaciones poco ortodoxas y experimentos inusuales desde los cuales se repiensan algunos aspectos de los modos de investigar de las ciencias sociales, específicamente de la etnografía. En este taller pretendemos abrir un diálogo entre el estilo y la sensibilidad epistémica propia de la etnografía (en sus diferentes versiones) y otras prácticas y modos de investigación del mundo del arte y la cultura. Nuestro objetivo es entender qué le ocurre a esas investigaciones etnográficas que se encuentran al límite y que atraviesan los ámbitos más diversos de producción científica, artística, política o cultural y que se mueven en ese tránsito hacia una colaboración de contornos experimentales. 

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Comics in the Community | Teaching Culture

Comics in the Community | Teaching Culture | Open ethnography | Etnografía en abierto | Scoop.it

It all started with the May 2006 LA Times Book Review, and a comic panel of Brian Fies’ mom receiving chemotherapy. Fies’ panel, entitled “Arrangement in Grey and Black,” from his comic Mom’s Cancer, shows his mother sleeping while receiving chemotherapy. At the time I considered the panel as another artifact of cancer’s culture. But the image never left me. After well over a decade writing about cancer inequalities and seeing a series of cancer comics (fotonovelas, public health messaging, educational comics, and pink ribbon fundraising), I had not come across a story that was so honest and intimate. While there are a plethora of examples of comics in the community for health messaging, there are fewer examples of how comics can build community.

 

Intrigued by the idea of how to bring community into the growing conversation about comics, I heard a presentation on Lafayette: Our Cancer Year at the second Comics and Medicine Conference in 2011. This project sent out a call for community stories from people who had been diagnosed with cancer. The submitted stories were then illustrated by local artists, and curated in an exhibit that featured Joyce Brabner speaking about her and Harvey Pekar’s graphic novel Our Cancer Year. The final Purdue comic was distributed back to the community where people could remember their loved ones, sacrifices, and the ways that the university, community artists, and patients could come together.

 

 

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“You’ve got to draw it if you want to see it”: Drawing as an Ethnographic Method | Teaching Culture

“You’ve got to draw it if you want to see it”: Drawing as an Ethnographic Method | Teaching Culture | Open ethnography | Etnografía en abierto | Scoop.it

My teacher Linda Schele said those words to me years ago when teaching me about the iconography of ancient Maya sculptures. She’d given me an assignment: to make sense of the carved stone monuments from the ancient site Quirigua, in south-east Guatemala. All I had were photocopies of Alfred Maudsley’s 1880s photographs, and I was having trouble distinguishing meaningful elements from the convoluted Baroque tendrils and curls on these elaborate carvings. I brought my photocopies to her house, and the first thing she did was put one on a light-box, taping a sheet of tracing paper on top, saying, “You’ll never see a thing just staring at it on paper! You’ve got to draw it if you want to see it.”

She began following the contours of the figure’s head, showing me how to lift the tracing paper to make sure the lines followed properly. She handed the pencil to me, and she was right: as soon as I began to draw it, I began to see it.

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Surfacing

Undersea fiber-optic cables are critical infrastructures that support our global network society. They carry 99% of all transoceanic digital communications, including: phone calls, text messages, email, websites, digital images and video, and even some television. It is cable systems, not satellites, that transport most of the Internet around the world. In Surfacing, you are a signal traveling across the undersea network. You begin on the coast, carried ashore by undersea cable. From your landing point, you can traverse the Pacific Ocean by hopping between network nodes. You might surface at cable stations where signal traffic is monitored, on remote islands that were once network hubs, and aboard giant ships that lay submarine systems. In the process, narratives about the history of the cable network, the companies that construct it, and the ecologies that it runs through will orient you in your journey.
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#HONDARTZAN | KIT DIWO (castellano)

Guía documental sobre una comunidad de prácticas, aprendizajes y afectos alrededor del procomún y las prácticas colaborativas. +info: http://www.colaborabora.…
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L'Archivio dei diari

L'Archivio dei diari | Open ethnography | Etnografía en abierto | Scoop.it

Caro diario,
la prima pagina di uno scritto autobiografico è sempre la più difficile da affrontare. Ci si trova di fronte all'esigenza di presentarsi a se stessi, di spiegare in poche righe quel che si è fatto o si pensa di aver fatto nella propria vita fino all'istante in cui si è impugnato carta e penna per iniziare a raccontarsi, di lì in avanti, giorno dopo giorno. 

La mia storia ha inizio nell'ormai lontano 1984, quando ho accettato senza incertezze una sfida che in quel momento mi sovrastava: rispondere all'esigenza di memoria di un intero Paese e accogliere le testimonianze autobiografiche di un intero popolo. In pochi pensavano che ci sarei riuscito e persino le persone che mi hanno tenuto a battesimo, su tutte il mio padre fondatore Saverio Tutino, non potevano immaginare quanta strada avrei percorso. Col passare degli anni invece non solo ho costantemente portato avanti la mia missione, arrivando a raccogliere e catalogare sui miei scaffali oltre 6.500 documenti autobiografici, ma sono stato capace di consolidarmi ed estendere il mio raggio d'azione in ogni direzione. Prima le tappe che hanno determinato la nascita della Fondazione e l'iscrizione al registro delle Onlus, poi i riconoscimenti istituzionali a livello locale e nazionale che hanno spianato la strada all'affermazione di un modello studiato ed emulato in tutta l'Europa. Un successo ottenuto grazie alla qualità dei servizi quotidiani offerti in sede e messi a disposizione di studenti, ricercatori e studiosi ma anche all'attività scientifica nata dalla collaborazione con questi ultimi e che ha favorito lo svolgimento di convegni e la pubblicazione di saggi, collane e antologie oltre che di manoscritti originali. Non ho rinunciato neppure a sconfinare nella pubblicazione di una rivista, il semestrale Primapersona, o a stimolare una produzione teatrale e cinematografica interamente ispirata ai testi autobiografici che conservo. L'annuale Premio Pieve, concorso per diari e memorie, ha rappresentato e rappresenta il traino per l'afflusso dei documenti inediti che ogni anno una Commissione di lettura provvede ad accogliere e selezionare. L'incentivo di oggi e soprattutto di domani che potrà garantirmi un'ulteriore crescita è rappresentato dal progetto di digitalizzazione e condivisione dell'intero patrimonio documentario che conservo. 

Ecco, posso dire di essermi presentato, perché la mia storia si compone della somma di tutte le attività che ho animato e continuo ad animare. Lo dico sempre alle persone che si interessano a me: per conoscermi fino in fondo, è necessario che conosciate fino in fondo tutte le mie iniziative passate, presenti e future...


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Archivos del común | MNCRS

Archivos del común | MNCRS | Open ethnography | Etnografía en abierto | Scoop.it
Con este seminario los organizadores pretenden reflexionar sobre las cuestiones de la memoria social, cultural y política en el momento presente a través del trabajo de los archivos que la producen, custodian y transmiten; analizar la importancia del cuidado del patrimonio común de las memorias menores y subalternas; y pensar cómo estas prácticas de archivo pueden alimentar un nuevo marco de imaginación social y política, que fortalezca el carácter democrático de nuestras sociedades. Si el Museo Reina Sofía es un museo del común, se trata en este caso de aplicar ese paradigma a la organización y conservación de los diversos tipos de archivos, que con diversos modelos de organización proliferan en el campo social y cuya existencia resulta esencial para organizar y hacer accesible la memoria del tiempo presente. Este concepto de museo del común quiere poner en evidencia los profundos cambios que la institución museística ha experimentado durante estas últimas décadas como consecuencia de la deconstrucción –o, en realidad, la destrucción irreversible y sin paliativos– de los paradigmas de la modernidad y de la posmodernidad; de las profundas crisis económicas, sociales y políticas que atraviesan nuestras sociedades en torno a los diversos tipos de representación artística, institucional, política y cultural; y de las transformaciones estructurales que están experimentando la institucionalidad de la cultura y sus contenedores artísticos, sus públicos, sus grupos de referencia y sus usuarios en general, provocadas por los profundos cambios que han conocido los sujetos productivos, artísticos, políticos y económicos, cambios que a su vez han afectado a un sinfín de comportamientos perceptivos, cognitivos y artísticos.

La reflexión sobre las políticas del archivo constituye, pues, uno de los ejes prioritarios del Museo Reina Sofía en estos momentos. En años recientes, este interés se ha traducido en un complejo ecosistema de trabajo en red mediante el cual el Museo, junto a diversos agentes e instituciones, ha auspiciado la puesta en marcha de políticas de colección ajenas a la lógica del mercado y a la estatalización de las colecciones artísticas. Ello ha supuesto también el desarrollo de una narración enunciada desde una multiplicidad de relatos emanados de los actores implicados, los recursos comunes compartidos y la materialización de iniciativas y estrategias de conservación que están construyendo un nuevo modelo de archivo del común. Estas iniciativas han pretendido reflexionar sobre la idea de patrimonio común, pensado a partir de los diversos modelos posibles de propiedad compartida y de la urgencia por evitar procesos de expropiación, cooptación o monopolio de la memoria colectiva y de sus diversas formas de construcción y manifestación.
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Public Space Tools | Map

Public Space Tools | Map | Open ethnography | Etnografía en abierto | Scoop.it

Digital toolkit to activate public space, focusing on legal issues. A Research project by @straddle3 with wwb.cc &@aacc_net, support by @ecf_tweets

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An Alphabet for the Nose. by Sissel Tolaas

An Alphabet for the Nose. by Sissel Tolaas | Open ethnography | Etnografía en abierto | Scoop.it

"Smell [..] is a highly elusive phenomenon. Odours, unlike colors, for instance, cannot be named – at least not in European languages. ‘It smells like...', we have to say when describing an odour, groping to express our smell experience by means of metaphors. Nor can odours be recorded: there is no effective way of either capturing scents or storing them over time. In the realm of olfaction, we must make do with descriptions and recollections." (Constance Classen, David Howes, and Anthony Synnott, Aroma: The cultural history of smell (UK: Routledge, 1994), p.3)

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A Mission to Capture the Smells of Cities

A Mission to Capture the Smells of Cities | Open ethnography | Etnografía en abierto | Scoop.it
What a City's 'Soundscape' Reveals About Its Character

Why smell expert Sissel Tolaas is on a mission to capture and replicate the “smellscapes” of cities around the world.

 
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Meridian 180

Meridian 180 | Open ethnography | Etnografía en abierto | Scoop.it

Meridian 180 is dedicated to transforming the Asia-Pacific dialogue—an absolute prerequisite for transformative policy change. Founded in 2012 and coordinated by the Clarke Program in East Asian Law and Culture at the Cornell University Law School in Ithaca, New York, Meridian 180 is a nonpartisan multidisciplinary community of academics, practitioners and policy makers from around the Pacific Rim and the world.

With nearly 700 distinguished members, Meridian 180 gives voice to a wide range of views from the Asia-Pacific region. Members delve into significant issues – from the 2011 earthquake and tsunami in Japan to the rule of law in China – and share ideas via our multilingual online platform, e-book series, policy papers and briefings.

 
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El NO-DO y la imaginación secuestrada

El NO-DO y la imaginación secuestrada | Open ethnography | Etnografía en abierto | Scoop.it

En 2012, RTVE y Filmoteca Española presentaron la digitalización del noticiero NO-DO, un patrimonio audiovisual público clave para entender cómo la dictadura franquista y los primeros gobiernos en democracia dirigían la mirada y, por lo tanto, el imaginario de los españoles tanto al interior como al exterior de sus fronteras. Hasta entonces el fondo sólo era accesible en la sede física de la Filmoteca, y su uso (tanto comercial como sin ánimo de lucro) celosamente controlado por el entramado burocrático del cual depende. La digitalización del archivo parecía indicar una apertura en la concepción de lo público audiovisual, pero el hecho de que el material tan sólo pueda ser visionado en streaming (acceso) pero no descargado (uso), plantea la necesidad de entender el archivo público como entidad instituyente, en lugar de cómo cementerio audiovisual instituido

 

Tomás Sánchez Criado's insight:

"Hoy en día se habla mucho de la necesidad de una nueva realidad, un nuevo horizonte sociopolítico que supere el agotado discurso actual. Propongo hacer caso a Josep M. Català cuando sugiere que “la nueva realidad hay que pensarla, gestionarla y conducirla desde la imaginación”. Un buen lugar por donde comenzar es reclamar el (des)control del archivo público, permitir su libre uso creativo para que el ciudadano examine críticamente la memoria audiovisual oficial. Sólo así podremos comprender cómo se instituyó el imaginario sociopolítico que intentamos dejar atrás, para después empezar a instituir, sin clausurarlo jamás, un presente y un futuro en perpetua reinvención."

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Ready for a smellfie? Photo tags map the smellscape of a city

Ready for a smellfie? Photo tags map the smellscape of a city | Open ethnography | Etnografía en abierto | Scoop.it

Are you ready for your smellfie? Photo captions on visual social networks like Flickr and Instagram can be used to create detailed smell maps of urban areas.

A team led by Daniele Quercia at the University of Cambridge used data taken from the sites to plot maps of aroma distributions across whole towns and cities, from the stench of sewer vents and horse dung to fragrant fruit markets, the new-mown lawns of public parks and the garlicky whiff of restaurant districts.

The system might lead to some unusual location-based technology: automatically generated online maps that let us plot routes not by shortest distance, but by the smells we prefer to experience (or avoid) on a walk, jog or bike ride. The name for these personalised maps? "Smellfies".

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Building Nonlinear Narratives for the Web

Building Nonlinear Narratives for the Web | Open ethnography | Etnografía en abierto | Scoop.it
The web operates in ways that can conflict with our traditional view of what a “story” is. Content is chunked, mixed, and spread across channels, devices, and formats. How do we understand story lines, characters, interactions, and the role of the audience, given this information sprawl? Cue nonlinear narratives—Senongo Akpem guides us past basic “scrolly-telling” to immersive, sometimes surprising experiences.
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Announcing ethnoGRAPHIC: A New Series | Teaching Culture

Announcing ethnoGRAPHIC: A New Series | Teaching Culture | Open ethnography | Etnografía en abierto | Scoop.it

Well, we’re just about finished our Graphic Adventures in Anthropology, and we hope you’ve had as much fun reading as we have had putting this together. We’ve visited a lot of places—from understanding the power of drawing and comics as a valuable method and way of seeing, as well as a potent teaching and communicative form that captures the sometimes less visible elements of fieldwork, to the representational and ethical challenges that this format raises, and the ways in which comic stereotypes might be appropriated effectively across cultures. If you’ve missed any of these posts, you can read the entire blog series here.


Now that we have you primed, we’re thrilled to announce a new book series here at the University of Toronto Press called ethnoGRAPHIC: Ethnography in Graphic Form. Whether you are an aspiring artist, or just interested in the possibilities of this format as both a methodology and a unique way of communicating your research results, we welcome expressions of interest and discussions about potential collaborations. It’s a brave new world out there, and we’re convinced that many academics want to be more creative in how they reach their audiences. We hope this series will harness some of that creativity.

 
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