Visual Ethnography: Critical & Creative Practices

1. Visual Ethnography: Critical & Creative Practices SM6324 MAMC/MFACM Linda Lai January 10, 2012

2. ...a road map...

3. “Visual ethnography”... “creative intervention”... where does it stand? Critical theory Anthropology Sociology Literary theories (studying/making portraits (basis of knowledge (textual studies) of human activities and production: material culture) Dialectical materialism) Cultural Studies Visual - ethnographycreative – intervention A research method highlighting fieldworkPossibilities of making change Use of photography &Critique can be in the Video raises unique questionsform of artistic creation of knowledge production contemporary art practices

4. ...key concepts...

5. Dialectical materialism (epistemological base) Go to the 'keywords' page on the course web-site for more detailed explanation: http://sweb.cityu.edu.hk/sm4134/Keywords.html Key points in application: (1) what can be experienced can be studied; (2) there is room for individual input in the broad process of society, culture and history Power Domination Subjectivities A identity position and state of self for action RESISTENCE / INTERVENTION / PERFORMATIVITY Ideology (synonyms: ideas / values / norms / common sense / ethics) Hegemony[Antonio Gramsci] (self-directed: common sense) Ethics [Michel Foucault](self-directed with moral reasoning: ethics)

6. on the key components of the course: • [source: anthropology] ethnography • [source: documentary cinema] visual ethnography • [source: contemporary art] research-based art-making, performativity (a cultural tactic) • [source: Cultural Studies, contemporary art] critical intervention

7. ...key concepts... Cultural Studies

8. CULTURAL STUDIES as impulse Contribution from Cultural Studies’ POV: 以小見大 -Broad theses/discourses of culture and society / ideologies / common sense etc. ↕ Specific site with specific individuals and practices in everyday life dramaturgy [“culture is ordinary” (Raymond Williams); culture as everyday fabric] -Our (ethnography) is a process of clarification to maintain differences via giving a voice to individual experiences.

9. CULTURAL STUDIES as impulse Contribution from Cultural Studies’ POV: 以小見大 ultimate concern: power subjectivities Power: not an abstract, top-down force, but… structures of power in concrete everyday settings and in various locations such as class, race, gender, sexual orientation, different formal institutions, policies… Subjectivities: the possibility of the individual to “participate” in culture and assert one’s humanness, whether to resist, to appropriate, to subvert, to deconstruct…

10. Basic orientation grounded in Cultural Studies Michel De Certeau’s dedication page in The Practice of Everyday Life *De Certeau’s science of ‘singularity’: Local-ness… People (subjectivities) beyond monumental value… The voice-less, the unrepresented… …the limits of representation *Creativity, artistic vision (CIL, SM4134) The specific, the particular The observable, the empirical… *Everyday creativity: small battles, occupying a specific position *Performativity: emphasis on tactics, especially a response to alienation or the hostility of urbanity via physical presence (occupation) of concrete space, e.g. walking the city

11. “…To a common hero, a ubiquitous character, walking in countless thousands on the street. In invoking here at the outlet of my narratives the absent figure who provides both their beginning and their necessity, I inquire into the desire whose impossible object he represents… “This anonymous hero is very ancient. He is the murmuringvoice of societies. In all ages, he comes before texts. He does not expect representations… “The floodlights have moved away from the actors who possess proper names and social blazons, turning first toward the chorus of scholarly characters, then setting on the mass of the audience.” Quote from De Certeau

12. More key theorists who contribute to an emphasis on the particular and the micro-levels of culture… Antonio Gramsci “Hegemony” – power is, most of the time, not in the form of coercion, but as common sense, as bottom-up voluntary practices Michel Foucault Techniques of the self (we translate the effect of power into justifiable practices via methods and routines for the “care of the self”) Fernand Braudel “Long duration” of everyday practices to view historical processes; alternative economic history… Erving Goffman Presentation of the self in everyday life dramaturgy: roles and persona, back-stage Vs front-stage, impression management

13. “Sociology” in Cultural Studies Micro level of human agency Interactionism Macro-level of systems and social structures Empiricism Durkheim – positivism Interpreting the observable… Erving Goffman -- presentation of the self in everyday life

14. ...key concepts... Visual anthropology

15. Photography in the traditions of visual sociology & anthropology (concern): *use of still photographs as a methodological tool in social research *use of photographs as a means of presenting social research

16. Visual anthropology: • …concerns • the examination of visual communication in the everyday domain • the critical analysis of visual methods of anthropological documentation • the critical analysis of visual productions of the cultures under study. • Initial focus: In 1970s on film and television as documentary methods

17. Naming the course… • Ethnography • Visual anthropology • Visual ethnography • Visual culture • Ethno-methodologies • Intervention • Creative Intervention • Theory & Praxis / Theory =(is) Practice

18. *What is ethnography? • a research methodology unique to anthropology • BEING THERE…COLLECTING...MAKING ‘DOCUMENTS’ (≠ objective records) …REPEATED VISITS... • What to observe, what to study: • a/ social processes (formalization of relations and abstract reasoning) • b/ rituals (everyday rituals unique to the group, proceduralism, situations that lead to the formalization of relations and abstract reasoning) • c/ exchange mechanisms (interactionism emphasized) • d/ self-narration (mythical dimension) NOTE: all the above aspects are observable by the researcher’s being there.

19. Definition…(cont’d) Atkinson: a method or set of methods that ‘ involves the ethnographer participating, overtly or covertly, in people’s daily lives for an extended period of time, watching what happens, listening to what is said, asking questions – in fact, collecting whatever data are available to throw light on the issues that are the focus of the research.

20. Setting initial 'frame' Generating key questions based on 'frame' Setting agenda + strategies for field observation Before fieldwork...

21. Strategies of recording and 'note-taking'' Ask yourself the uniqueness of your tools (its enabling aspects and its limitation) Consider multiple use of 'note-taking' facilities (writing / photography / audio recording / video-making) On the spot... *Assessing fitness of method to your purpose... *Ensuring what you collect is open enough for reviewing, further obseration, and interpretation after fieldwork... During fieldwork...

22. Interpretation [framing / coding / re-framing.../ mapping / making meanings via informed views of culture] Representing the results [organization / narrative methods] After fieldwork...

23. Ethnographic research A narrative based on ethnographic research: “The Auction” Sarah Thornton, Seven Days in the Art World (Granta Publications, 2008), pp. 3-39.

24. ...practice for this semester... Visual ethnography

25. KEY REFERENCE Doing visual ethnography : images, media and representation in research / Sarah Pink See also course web for full bibliography: http://sweb.cityu.edu.hk/sm4134/references.html

26. Visual Ethnography paradigms 1 : Using cameras and other recording technology to gather data How the camera records, recording = collecting data? What kind of data? 2 : The studying of non-verbal data produced by cultures – visual representation of reality 3 : The studying of visual objects 4 : Presenting research findings with images and media other than words

27. Critique of the term “visual” W.J.T. Mitchell’s essay, “There are no visual media” (2005) in Journal of Visual Culture provides a good counter-discussion… In the end, no medium involves solely one level of sensory experience

28. Initial Examples

29. Linda Lai: What's in a talking head Organized findings: *[an academic report] “Narrated Selves and Event Structures: a phenomenological view on glocal connectivities” (6.2010) *[a 61-minute video work] Excitable Speech: all about Cinderella 《灰姑娘誌異》(2008) http://www.lindalai-floatingsite.com/content/video/data/unpublished/Excitable-Speech_Cinderella/index.html*[Installation version] All About Cinderella (12.2006-01.2007) http://www.lindalai-floatingsite.com/content/installation/installation/cinderella/index.html Video Research

30. Ethnography and action research A project on Yunnan women… http://www2.bc.edu/~lykes/voices.htm

31. Bonnie Adrian (2003): Framing the Bride: globalizing beauty and romance in Taiwan’s bridal industry. University of California Press, Berkeley, Los Angeles, London. A participatory ethnographic studies on wedding photo packages in Taipei

32. Collecting for creative intervention… Hiroshi Sugimoto Blurry architecture series http://sweb.cityu.edu.hk/sm4134/2009/Hiroshi_Sugimoto/hiroshi_sugimoto.ppt

33. An example of auto-ethnography An interpretive work of one's own video diaries: Linda Lai: I Told Them My Camera Was On 六度分離：準備好未？(2005 v. 2) http://www.lindalai-floatingsite.com/content/video/data/published/I_told_them_my_camera/index.html

34. Recommended: on contemporary art relevant to the course [examples of recent publications] Archive Fever: uses of document in contemporary art (Okwui Enwezor) Six Stories from the End of Representation (James Elkins)

35. SUMMARY OF COURSE INTRODUCTION

36. What we would do in this semester… *the ethnographic use of film, photography, and new media *ethnographic research on visual artifacts and projects of visual representation *exploration of artistic strategies to transform research process and findings into a personalized work of art *studying visual artifacts in which the work of ethnography is embedded