I gave a keynote last week for the 2017 Death Online Research Symposium. To wrap up, as the fourth (of four) keynotes, I focused the discussion on techniques and vocabularies for doing research of sensitive topics, or in precarious situations
Remix and bricolage are often used synonymously. In this keyword entry for the forthcoming edited collection, Keywords in Remix Studies, I provide a selective history of ‘bricolage’ as used to describe various post-X approaches in the social and humanistic sciences.
Explore visual culture and methods with us! To enact and explore ideas about visual culture, visual methods, and aesthetic futures, we build the course around the Northside music festival in Aarhus. The course begins two days prior to the festival, when we’ll meet in a classroom environment. Then, during the festival we will use the festival as a laboratory for different types of empirical studies. We will focus on the exploration of how visual impressions and expressions, including digital visual media (such as Instagram, mobile camera, website) interweaves with (maybe reinforces, maybe contradicts?)the participant’s experience of the music festival.
To encourage people to think less about labels and more about practice, I started using the concept of remix. Then, I started using less heavy (in terms of baggage) terms to get under the surface of methods like ‘data collection,’ ‘data analysis,’ ‘findings,’ and so forth…
Remix is a term that came into usage in the late 20th century to refer to the practice and product of taking samples form audio tracks and putting them together in new and creative ways.
The past three decades mark tremendous growth in digital social interaction, from early experiments in virtual reality, text-based communities, and role playing games to today’s saturation in social media, where we are always on, tethered to mobile devices, enacting what Nielson in 2012 labeled “Generation C” (for connected)…
The form and cultural practice of remix offers a lens through which we may be able to better grapple with the complexity of social contexts characterized by ubiquitous internet, always-connected mobile devices, dense global communication networks, fragments of information flow, and temporal and ad hoc community formations.
Particularly in digital contexts, the activities of fieldwork must be so radically adjusted, they hardly resemble fieldwork anymore. How much do we have to shave the square peg of ‘participant observation’ to fit it into the round hole of Twitter? And how can I take seriously someone who doesn’t problematize this practice or the outcomes?
Remix Methods: Searching for Resonance (Part I) Annette Markham [addtoany] As part of an ongoing project, this is my own remix, which means it will morph over time into something that has a different sort of coherence than you see here. I’ve been musing over three recent events that compelled me to start writing about […]