Month: November 2020

Week 9, CRM

Courses, CRM

Situating sensory ethnography: from academia to intervention


Doing Sensory Ethnography investigates the possibilities afforded by attending to the senses in ethnographic research and representation. An acknowledgement that sensoriality is fundamental to how we learn about, understand and represent other people’s lives is increasingly central to academic and applied practice in the social sciences and humanities […] [Debates…] inform how researchers represent their findings in conventional written and audiovisual texts and in innovative forms designed to communicate about sensory experience. […] [In this chapter…] First, I outline its continuities and departures from existing ethnographic methodologies. Second, I locate [p. 8 ↓ ] it in relation to the intellectual trajectories of discipline-specific scholarship and applied research.

Pink, Sarah. “Situating Sensory Ethnography: From Academia to Intervention.” Doing Sensory Ethnography. SAGE Publications Ltd. 2009.

READING NOTES

  • What is sensory ethnography?
    • Ethnographic practice tends to include participant observation, ethnographic interviewing, and a range of other participatory research techniques that are often developed and adapted in context
    • shift from the ‘classic’ emphasis on ‘holism, context and similar ideas’ to the increasing fragmentation of ethnographic research.
    • critical methodology, visual ethnography
    • ethnography is a reflexive and experiential process though which understanding, knowing and (academic) knowledge are produced
    • ethnography is a process of creating and representing knowledge (about society, culture and individuals) that is based on ethnographers’ own experiences. It does not claim to produce an objective or truthful account of reality, but should aim to offer versions of ethnographers’ experiences of reality that are as loyal as possible to the context, negotiations and intersubjectivities through which the knowledge was produced. (Pink 2007a: 22)
    • [What do ethnographers do?…] iterative-inductive research (that evolves in design through the study), drawing on a family of methods, involving direct and sustained contact with human agents, within the context of their daily lives (and cultures), watching what happens, listening to what is said, asking questions, and producing a richly written account that respects the irreducibility of human experience, that acknowledges the role of theory as well as the researcher’s own role and that views humans as part object/part subject. (2005: 3) (Karen O’Reilly)
    • seeking to understand and engage with other people’s worlds through sharing activities, practices and inviting new forms of expression
    • necessary to rethink ethnography to explicitly account for the senses. […] reflexive, gendered, embodied, visual.
  • Anthropology of the senses and its critics
    • Howes described as ‘primarily concerned with how the patterning of sense experience varies from one culture to the next in accordance with the meaning and emphasis attached to each [p. 12 ] of the modalities of perception’ (1991b: 3). .
    • how different cultures map out the senses. Based on the assumption that in all cultures the senses are organised hierarchically, one of the tasks of the sensory researcher would be to determine the ‘sensory profile’ (Howes and Classen 1991: 257) or sensory ‘order’ of the culture being studied
    • taking cultural difference as the unit of comparison can be problematic when it shifts attention away from the immediacy of sensory experience as lived, and as such from the moment of perception.
    • Ingold writes, ‘reduces the body to a locus of objectified and enumerable sense whose one and only role is to carry the semantic load projected onto them by a collective, supersensory subject – namely society – and whose balance or ratio may be calculated according to the load borne by each’ (2000: 284).
    • senses, away from ‘the collective sensory consciousness of society’ and towards the ‘creative interweaving of experience in discourse and to the ways in which the resulting discursive constructions in turn affect people’s perceptions of the world around them’ (2000:285).
  • [Anthropology…]commonly assumed dominance of vision, or occularcentrism (Howes, Stoller)
    • need to separate out the idea of there being a hierarchically dominant sense
    • understanding vision in terms of its interrelationship with other senses
  • [Anthropology…] [Grasseni…] “the immediacy of fleeting sounds. Ineffable odours, confused emotions, and the flow of Time passing” ([Fabian 1983]:
    • ‘skilled visions [which] are embedded in multi-sensory practices, where look is coordinated with skilled movement, with rapidly changing points of view, or with other senses such as touch’
    • British and Spanish research participants decided whether or not they would clean their homes based on multisensory evaluations and knowledge that they verbalised in terms of how clothes, or sinks or floors look, smell [p. 14 ] or feel under foot. .
  • [Anthropology…] [Stoller’s work in The Taste of Ethngraphic Things, Sensuos Scholarship shows…] anthropological practice is a corporeal process that involves the ethnographer engaging not only with the ideas of others, but in learning about their understandings through her or his own physical and sensorial experiences, such as tastes (e.g. 1989) or pain and illness (e.g. 1997, 2007).
    • recently anthropological studies that attend to the senses have been done ‘at home’, or at least in modern western cultures. This has included a focus on everyday practices such as housework (Pink 2004) and laundry (Pink 2005b), gardening (Tilley 2006), leisure practices such as walking and climbing (e.g. Lund 2005), clinical work practices (e.g. Rice 2006; Lammer 2007) and homelessness (Desjarlais 2005). Such sensory ethnographies both attend to and interpret the experiential, individual, idiosyncratic and contextual nature of research participants’ sensory practices and also seek to comprehend the culturally specific categories, conventions, moralities and knowledge that informs how people understand their experiences.
    • question of the relationship between sensory perception and culture, engages with questions concerning the status of vision and its relationship to the other senses, and demands a form of reflexivity that goes beyond the interrogation of how culture is ‘written’ to examine the sites of embodied knowing.
  • [Sensuous Geographies, Ethnographies and Spatial Theory] ‘An object or place achieves concrete reality when our experience of it is total, that is through all the senses as well as with the active and reflective mind’ (Yi-Fu Tuan)
    • ‘to offer a more integrated view of the role of the senses in geographical understanding: the sense both as a relationship to a world and the senses as themselves a kind of structuring of space and defining of place’ (Rodaway 1994: 4, original italics).
  • micro-sociology [Simmel, Sociology of the senses]
    • First, our ‘sensory impression’ of another person invokes emotional or physical responses in us. Second, ‘sense impression’ becomes ‘a route of knowledge of the other’ (1997 [1907]: 111).
    • ‘smelling a person’s body odour is the most intimate perception of them’ since ‘they penetrate, so to [p. 18 ] speak, in a gaseous form into our most sensory inner being’ (1997 [1907]: . 119).
    • [Low examines role of smell…] ‘attempts to move beyond “absolutely supra-individual total structures” (Simmel, 1997 [1907]: 110) towards individual, lived experiences where smell may be utilized as a social medium in the (re)construction of social realities’ (Low 2005: 298).
  • Christina Lammer (e.g. 2007) and of Jon Hindmarsh and Alison Pilnick (2007), which involves the use of video methodologies and sociological approaches to understand the sociality and multisensoriality of interactions in clinical contexts.
    • intercorpreal knowing [Hindmarsh, Pilnick]
  • Sensory Ethnography and Applied Practice… consumer research and health studies.
    • health research… documentary video Making Contact, CORPO realities [Lammer, sociology, interventional radiology]
    • …’teaching neophyte nurses to attend to their senses and their embodied responses, in order to better understand the lived experiences of patients and their families’ (Edvardsson and Street 2007:30).
  • Sensory Ethnography and Arts Practice
    • Parallel to, sometimes overlapping, and in some cases in collaboration with interest in the senses in ethnographic disciplines has been attention to the senses in arts practice
    • ethnographic filmmaker David MacDougall
    • audiovisual practice of Christina Lammer
    • soundart and ethnographic representation
    • John Levack Drever has identified commonalities between theory and practice in ethnography and soundscape composition, suggesting they share a focus on: ‘fieldwork through sensuous experience and the creation of an outward response to that experience from the inside’; ‘a holistic approach to the environment and to its people’; and a concern with ‘translating their findings into condensed itinerant forms’ (2002: 24).
    • Installation and performance art…. walking as a method of researching (e.g. the arts practice of Sissel Tolaas (see Hand 2007) and the ethnographic practice of, for example, Katrín Lund (2005, 2008), Jo Lee Vergunst (2008) and others),
  • Interdisciplinary Context for Sensory Ethnography
    • The extent to which this work will emerge in interdisciplinary projects that combine approaches from, say, anthropology, history and arts practice, rather than in the form of multidisciplinary edited readers and in the journal Senses and Society, still remains to be seen.

INTERESTING CITATIONS AND DEFINITIONS

Howes, D. (Ed.) (2005) Empire of the Senses: The Sensual Culture Reader . Oxford: Berg.

David MacDougall (ethnographic filmmaker)

Christina Lammer (health research)

POST-READ


A/r/tography as Living Inquiry Through Art and Text

There is a substantial body of literature on arts-based forms of research demonstrating scholars’ endeavors to theorize the production of the arts as a mode of scholarly inquiry and as a method of representation. However, if arts-based research is to be taken seriously as an emerging field of educational research, then perhaps it needs to be understood as a methodology in its own right. This entails moving beyond the use of existing criteria that exists for qualitative research and toward an understanding of interdisciplinarity not as a patchwork of different disciplines and methodologies but as a loss, a shift, or a rupture where in absence, new courses of action un/fold. This article proposes an understanding of arts-based research as enacted, living inquiry through six renderings of a/r/tography: contiguity, living inquiry, openings, metaphor/metonymy, reverberations, and excess.

a/r/tography; contiguity; living inquiry; openings; metaphor/ metonymy; reverberations and excess

A/r/tography as Living Inquiry Through Art and Text Stephanie Springgay, Rita L. Irwin and Sylvia Wilson Kind Qualitative Inquiry 2005 11: 897

Guest Andrew Zealley

Guest speaker: Andrew Zealley, artist, musician, doctoral candidate York University 

Auto-ethnographies

Courses, CRM

Auto-ethnography, an alternative method and form of writing, can make for uncomfortable reading. A transgressive account in the context of professional practice opens out a professional’s life, remaking power relations in the process. Relational ethics is an emerging growth area for auto-ethnographers, given the ethical implications for everyone represented in a transgressive telling. Future directions include fresh juxtapositions of layered auto-ethnographic texts and collaborative accounts that break with the self–other dichotomy.

Auto-ethnography, power relations, relational ethics, remaking professional practice, transgressive writing

Denshire, Sally. “On Auto-Ethnography.” Current Sociology, vol. 62, no. 6, Oct. 2014, pp. 831–850, doi:10.1177/0011392114533339.

Autoethnographers have grappled with how to represent others in the stories they tell. However, very few have written about the need to protect themselves in the process of doing autoethnographic writing. In this paper, I explore the ethical challenges faced when writing about a potentially-ongoing disorder, such as anorexia, when the research process triggers previously disengaged unhealthy thinking or behaviors for those involved. In the story-writing process, I felt a strong pull to go back into anorexia, as I immersed myself in my research on this topic. The compulsion to publish became intertwined with the compulsion of my anorexia, illustrated by the need to control both and present a certain “face” as a researcher.

Using a meta-autoethnographic format, I walk the reader through the choices I made in an attempt to protect myself as a researcher in the process of publishing an autoethnography about anorexia. I also explain the lessons I learned, which can be applied to persons doing autoethnographies on topics that may affect their own personal well-being. This paper reveals the importance of writing through our pain in an ethical fashion and that the ethics of doing autoethnography is not just about protecting those implicated in our stories, but also ourselves.

autoethnography; meta-autoethnography; writing-stories; ethics; anorexia

 Chatham-Carpenter, A. (2010). ‘Do thyself no harm’: Protecting ourselves as autoethnographers. Journal of Research Practice, 6(1), Article M1. Retrieved [date of access], from http://jrp.icaap.org/index.php/jrp/article/view/213/183

A methodological textbook on autoethnography should be easily distinguishable from the standard methods text. Carolyn Ellis, the leading proponent of these methods, does not disappoint. She weaves both methodological advice and her own personal stories into an intriguing narrative about a fictional graduate course she instructs. In it, you learn about her students and their projects and understand the wide array of topics and strategies that fall under the label autoethnography. Through Ellis’s interactions with her students, you are given useful strategies for conducting a study, including the need for introspection, the struggles of the budding ethnographic writer, the practical problems in explaining results of this method to outsiders, and the moral and ethical issues that get raised in this intimate form of research. Anyone who has taken or taught a course on ethnography will recognize these issues and appreciate Ellis’s humanistic, personal, and literary approach toward incorporating them into her work. A methods text or a novel? The Ethnographic ‘I’ answers yes to both.

Ellis, Carolyn. The Ethnographic I: A Methodological Novel about Autoethnography. Rowman Altamira, 2004.

What is deemed ‘good’ or ‘humane’ care often seems to be underpinned by a standard ideal of an able-bodied, autonomous human being, which not only underlies those ‘social and professional structures within which narratives and decisions regarding various impairments are held’ (Ho, 2008), but also co-shapes these structures. This paper aims to explore how a relational form of auto-ethnography can promote good care. Rather than being based on and focused toward this standard ideal, it challenges ‘humanity’ by showing how illness narratives, public discourse, and policy are framed by ethical questions. It illustrates how normative ideas dictate policy and public discourse. It critically questions this constitutive power by shifting attention to the lived experiences of people with chronic illness and disability. By highlighting and reflecting together on the first author’s life with a chronic illness and his son’s disability, and thereby framing the narrative, it will be argued that, in order to improve care practices, personal illness and disability narratives and the way they interlock with public narrative and auto-ethnographic methodologies should be investigated.

auto-ethnography; care ethics; disability; chronic illness; humane care

Niemeijer, Alistair and Merel Visse, “Challenging Standard Concepts of ‘Humane’ Care through Relational Auto-Ethnography” Social Inclusion, vol 4, no 4. 2016.

Week 9, CTS

Courses, CTS

Claudia Coca’s Chola Power: Pop Art as Decolonial Critique


Abstract: This essay showcases the work of Claudia Coca, a contemporary pop artist from Lima, Peru whose paintings and drawings critique the links between race, gender, and class in a decolonial, transnational frame. First, the essay explores the way Coca celebrates the Peruvian chola by presenting herself as an empowered subject instead of as an insulted object in her paintings. While the term chola has historically been used derogatorily, Coca reappropriates her chola identity and reclaims it as her own, consequently subverting its prejudicial, racist origins. Second, the essay studies the critiques she performs of the “afterlives of colonialism” on the natural and cultural environment in her most recent series of drawings from 2017. She demonstrates that not only human bodies, but other natural materials are tangled up with the project of cultural colonization. Throughout the article, the work of Chela Sandoval […Differential Social Movement] is drawn on to argue that Coca practices an oppositional aesthetic that makes sensible the perspectives of subjects whose voices and bodies have been disparaged instead of valued within an uneven global capitalist system.

Daly, Tara. “Claudia Coca’s Chola Power: Pop Art as Decolonial Critique”. In Meridians: feminism, race, transnationalism, Vol. 18 no. 2 pp. 414-444, 2019.

READING NOTES

  • The tension between a digestible medium and an uncanny message about historical violence is where the power of her art lies. She jars viewers to consider the layers of social injustices that underlie the shiny screens of late capitalism.
    • an “oppositional” subject to hegemonic norms no longer exists because postmodernity results in a shattering of “the original” or “the normative” (Frederice James)
    • due to third world social movements and women of color feminisms, an oppositional consciousness to Jameson’s reading of history had already developed out of the 1968 context and continues to evolve as a creative, mutating pattern of differentiation vis-à-vis hegemonic forms of history
    • shift from a logic of oppression to a logic of resistance. (Lugones)
    • potential alliances between oppressed subjects as they navigate transnational spaces as part of a broader decolonial feminist aesthetic.
  • “Bring your flag for a ritual of electoral cleansing”
    • the power of taking up public space in a peaceful, participatory way, to help embody an oppositional movement and consciousness
    • example of an oppositional aesthetic project speaks to the power of collective action via a peaceful act built on love and respect for difference within a nation.
  • Coca’s use of self-representation enables her to connect to people through empathy, and to avoid speaking “for” others, but rather as herself alongside peers.
    • racism as a structural problem in Peruvian society, whose origin takes root during the colonial era, but at the same time locates the “other,” in general terms, in a field of exclusion with respect to the codes of society
    • emphasizes duality or multiplicity as identity, not as problems to be resolved.
    • …ways that products and images from the outside can influence self-perception in Peru.
  • Coca has turned the lens around by representing herself as the three graces, thus subverting the dynamic between the object of the painting, the subject in the painting, and the painter herself.
    • eliminates the power dynamic between “painter” and “painted,” or anthropologist and object of study, by collapsing the two and flipping the relationship between outsider and insider and the directionality of the male gaze.
    • chola women; that is, women of both indigenous and European origin who have been socially disparaged.
    • But this multiplicity is not paralyzing like the schizophrenic, fragmented subject of capitalism that Jameson describes; rather, it is nomadic and crafty, as Chela Sandoval argues in her revisionist take on Jameson’s “lost” subject in the postmodern era of late capitalism
    • beauty as an ongoing aesthetic and personal project, not an imported look to attain
    • feminist visual parodies
  • term cholo/a (or cholx) is an unstable racial and social category that is acutely dependent on context, and reflects a cultural dynamism that is, at its worst, racially and culturally derogatory, and at its best, celebratory in its symbolization of an emerging, new identity.
    • This process of cholificatio was fluid[…]a social “becoming” that could not be considered as an immutable identity. Cholaje was not, nor is it, a fixed structure; nor is it subject to hard and fast borders. Rather, it is a porous, soft structure that transforms, that changes
  • Tate features the word pop as a verb, not just an adjective, to emphasize the action that the word performs; pop art “pops” that which went before it— stylistically, abstraction and expressionism; and culturally, the notion that art could not be inspired by Campbell’s graphics associated with mass production, like soup cans or the Sunday comics.
    • how does she “pop” racial and gendered stereo types and formalliances within and beyond national borders via her art?
    • how does she more broadly “pop” colonial legacies projected onto the landscape?
    • Paul Preciado, in his reconceptualization of the body in reaction to the mandates of modernity, argues that part of decolonization means “making corporeal vulnerability a platform for action and common resistance”
    • Coca draws attention to the fact that strife is not commonly represented in pop art, even though the affective experience of anxiety associated with social prejudice might be one of the most popular shared experiences that people undergo in the public sphere. Coca makes sensible what is invisible publicly, but might be hyper visible internally to citizens: the doubt within as to why someone else might hate “us” so much.
  • If hate is the result of neocolonial prejudices, then love is that of decolonial alliance
    • Sandoval explains the concept of love as a method as “the experience of ‘the originality of the relation’ between two actors that inspire new powers”
    • “ What Coca asks in her art is “Why do much?” And yet, as viewers she challenges us to reflect on the opposite question: “why don’t we love each other and ourselves?”
    • viewers look at the beauty of the art and the creative power and are hurt by the hate or marginalization that inspires them, but simultaneously empowered through their reaction
    • ongoing call for oppositional consciousness to the smoothing over of difference
  • In this image, Colonizados, the black-and-white thrashing ocean becomes less a symbol of pristine and neutral nature, and more that of a force inscribed with the arrival of a project that transforms the ocean from a shared resource to a privileged imperial space.
    • speaks to the violence of a colonialism that cannot be located.
    • the much deeper and more complex systemic violence that fades from our discourse as we point the finger and blame individuals for the symptomatic issues of a diseased system. (Zizek)
    • denaturalizes colonization and reinstates the centrality of nonhuman nature as a necessary part of sustainable human life.
    • Our material relationships, across race, gender, sexuality, and even species, are sites of oppositional movement to the tide of exploitative economic and social practices that develop out of empires.


Week 8, CTS

Uncategorized

Breaking Up with Deleuze


In this article, Eve Tuck grapples with Gilles Deleuze’s conceptualization of desire, finding it simultaneously generative and unsatisfying. Recognizing that Deleuze will not ‘say’ what Tuck wants him to say about desire – that it is smart, and constitutes expertise – Tuck reasons that there is only one thing she can do: break up with Deleuze. The article is organized into several break-up rituals, and in each of the rituals, the author works to understand, interrogate, expand, and extend conceptualizations of desire. In these ways, an articulation of what it means to value the irreconcilable is presented.

Tuck, Eve. Breaking up with Deleuze: desire and valuing the Irreconcilable In International Journal of Qualitative Studies in Education, 23:5, 635-650, 2010.

Additional:

https://www.artandeducation.net/classroom/video/253794/eve-tuck-i-do-not-want-to-haunt-you-but-i-will-indigenous-feminist-theorizing-on-reluctant-theories-of-change

Yasmine Eid-Sabbagh https://vimeo.com/423729554

Deleuze for the Desperate #3 Haecceity “Third in the series, this one discusses the haecceity. The term has been used to describe close working relationships, but it has wider applications. The discussion also helps to begin to grasp terms like ‘event’, ‘assemblage’, ‘singularity’ and ‘rhizome’. Transcript available on: www.arasite.org/deltranscript3haecc.html” https://www.youtube.com/watch?v=77CMNYJEb4I

READING NOTES

  • inspired by Deleuze and Guattari’s assertions of desire as ‘involution’ (Deleuze and Guattari 2003), I have been theorizing desire and desire based inquiry as counter to damage-centered research (Tuck 2008a, 2009; Tuck et al. 2008).
    • forgoing Oedipal configurations of regression and repression (illustrated as the false choice between an authoritative father and devoted mother – her shape and his hand [Williams 1991; Gordon 1996]) for a configuration that constituted the multiple, the dimensional, and the kaleido directional.
    • Deleuze’s work is a fractal. He is insistent that philosophy operates and resonates while scaling up and scaling down.
    • open-handed hold that I use in my reading of poems (Tuck 2008a). my words were anemic, their words were ‘language at its most distilled and most powerful’,
    • there is no correspondence between the conceptual rhizome and the botanical rhizome (Colombat 1991, 15).
  • ‘All we have to do is prove that you are damaged, and then we can get you what you need’.
    • The theory of change is flawed because it assumes that it is outsiders, not communities, who hold the power to make changes.
    • Are the long-term costs of these damage narratives worth the benefits (Tuck 2009)?
  • Desire-based research frameworks appreciate that all of us possess a: ‘complex and oftentimes contradictory humanity and subjectivity that is never adequately glimpsed by viewing [one another] as victims or, on the other hand, as superhuman agents’ (Gordon 1996, 4; Tuck 2009).
    • desire […] ‘becomes applicable in any context or relation: it is a spontaneous emergence that generates relationship though a synthesis of multiplicities’ (Goodchild 1996, 4).
    • Deleuze and Guattari’s theorizing of desire and the politics of desire is culturally specific, wholly situated within democratic capitalism, even at the same time that they are working to confront and expose the fallacies of this system (Deleuze and Guattari 1994, 44; Goodchild 1996, 71).
    • It is desire’s nature of being unresolved and self-incompatible that makes desire productive.
    • Desiring-machines work by cannibalizing desire, past desire, desire-in-formation, so that the distinctions between them are blurred beyond recognition. There is no new, pristine desire; there is no old, preserved desire; there is only desire that is becoming.
    • Deleuze is adamant that desire is revolutionary. ‘This doesn’t mean that it wants revolution’, he writes. ‘It’s even better. Desire is revolutionary by nature because it builds desiring-machines which, when they are inserted into the social field, are capa ble of derailing something, displacing the social fabric’ (Deleuze 2004, 233).
  • Foucault, Reich, Deleuze, Guattari, all of us, are concerned with how people can continue to participate in their own domination and exploitation.
    • In the notes, Deleuze addresses Foucault’s dissatisfaction with desire, along with MF’s petition for ‘pleasure’: “Evidently it is again something other than a question of words. Since as for myself I can hardly bear the word ‘pleasure’. But why? For me, desire does not comprise any lack; neither is it a natural given; it is but one with an assemblage of heterogenous elements which function; it is process, in contrast with structure or genesis; it is affect, as opposed to feeling; it is ‘haecceity’ (individuality of a day, a season, a life), as opposed to subjec tivity; it is event, as opposed to thing or person. (quoted in Ewald 1994)”
  • desire is both the part of us that hankers for the desired and at the same time the part that learns to desire (Tuck 2009).
    • Desire is about longing, about a present that is enriched by both the past and the future; it is integral to our humanness (Tuck 2009).
    • participatory action research and Indigenous and decolonizing methodologies (Tuck 2008b). It is crafted to be particularly attuned to insynchronicity: to observe contradictions within institutions and the ways those contradictions play out in lived lives. A methodology of repatriation views insynchro nicity – the gaps between what institutions, people, and governments say they do and what they actually do – as revealing units of analysis
  • Deleuze gives too much up when he says that desire is perfectly meaningless.
    • out of character that Deleuze, so relentlessly scale-ular, would maintain that society strategizes territorializations and deterritorializations because of the haecceity of public desire, but does not afford desire at the level of personhood the same providence.
  • [Tuck] believe desire constitutes our expertise.
    • how do I attribute Deleuze’s notions of rhizomatic interconnected ness, a notion at the very center of his philosophies, when for hundreds and thousands of years, interconnectedness has been the mainstay in many Indigenous frameworks, both tribal and diasporic?
    • It’s an issue of false inventions and giving credit where credit is due, and again an issue of describing and engaging in contentious, complex ideas.
    • The notion of fluidity has never worked to the advantage of Indigenous peoples. Federal agencies have invoked that language of fluid or unstable identities as the rationale for dismantling the structures of tribal life. Whitestream America has seized upon the message of relativism to declare open season on Indians. (Grande 2004, 112)
  • valuing the irreconcilable […] Patricia Carini’s work on valuing the immeasurable.
    • To describe is to value, Carini tells us ‘Describing I pause, and pausing, attend. Describing requires that I stand back and consider … Describing makes room for something to be fully present. Describing is slow, particular work. I have to set aside familiar categories for classifying or generalizing. I have to stay with the subject of my attention. I have to give it time to speak, to show itself. I have to trust that what I am attending to makes sense; that it isn’t a merely accidental or chance event. To discover the subject’s coherence and how it persists in the words, I have deliberately to shift my own perspective in relation to it. (2001, 163)”
  • ‘experience as always inseparable from language – from self-subject, from others, from discourse, from difference, from love’ (2009, 615). (Stacy Holman-Jones)

INTERESTING CITATIONS AND DEFINITIONS

Tuck, E., in conversation with M. Fine. 2007. Inner angles: A range of ethical responses to/ with Indigenous and decolonizing theories. In Ethical futures in qualitative research: Decolonizing the politics of knowledge, ed. N. Denzin and M. Giardina, 145–68. Walnut Creek, CA: Left Coast Press.

Tuck, E. 2009. Suspending damage: A letter to communities. Harvard Educational Review 79, no. 3: 409–27.

Gordon, A. 1996. Ghostly matters: Haunting and the sociological imagination. Minneapolis, MN: University of Minnesota Press.

Holman-Jones, S. 2009. Crimes against experience. Cultural Studies, Critical Methodologies 9, no. 5: 608–18.

POST-READ

Interesting in thinking about own research and speculative presents, especially drawn to thinking about questioning damage-narratives, “desire-based research frameworks,” and valuing the immeasurable.

Reading Art as Confrontation

Ferreira da Silva, Denise. Reading Art as Confrontation In e-flux journal, May-August 2015.

Reading Notes

  • What sort of compositions could retain the postcolonial concern with representation, aiming beyond the limits of postcolonial critique and its particular rendering of modern grammar? If it aims to go beyond denouncing, if it moves to dismantle and/or counteract the effects of epistemic violence, what would anticolonial artwork accomplish through the form of presentation?
  • “[…] A process of rethinking visual representation unleashed, considering how to make these images “visible” without making them public, and questioning the iconography of the Palestinian refugee created through images mainly produced by the United Nations Relief and Work Agency (UNRWA) and the Palestine Liberation Organization (PLO).” (description from “Together,” Eid-Sabbagh)
  • The time and situation in which the performance takes place […] does something that is beyond and that cannot be comprehended by the conceptual tools and analytical moves associated with the “postcolonial” as a scholarly practice
  • […] by violating the presupposition of universality that gives ethical support to representation (juridical, symbolic, economic). […] without some assumption of a universal (in terms of equality and/or transcendence), it is inconceivable that free (self-determined) persons or collectives would accept being represented by somebody or something other than themselves.
  • […] the postcolonial academic does not have to worry about the “public” when she performs her critique. Nor does she, as noted above, worry about the “making public,” because what becomes “visible” in the text is mediated by pages and pages of conceptual and methodological declarations that make evident that what becomes visible is made so only under these conditions of emergence.
    • none of that distancing is available to the postcolonial performance artist.
  • […] because of the in/difference between the stage and the museum as exhibition sites. Both offer precisely that which Yasmine Eid-Sabbagh’s performance refused (its corruptive move), which is the “ethical closure” effected by a reassurance of difference, namely, of a given distance between “I” (spectator/colonizer/Human Rights enforcer) and the “Other” (exhibit/colonized/victim). For that is precisely what has justified (as explanation, cause, or meaning) the violence done in the first place.

Module

Notes

  • Sarah Ahmed
  • in the critical undoing of hegenomy there are productive assembleges that matter and that in mattering there is forming
  • disruption, confrontation and refusal are not simplistic methods that result in ruin, what emerges? transformations…
    Cont. w/ Eve Tuck
  • “research that is not damage centred”
  • delueze – do more than critique, but augment
  • breakup as necessary and productive
  • analyitic lense of experiece and self determination as method for self determination
  • thinking with desire, counter to damage centered research
  • haecceity: properties of a particular thing and not an individual, not about personhood (about fields that move the matter within space)
  • freud – desire = lack,
  • indigenous knowledge systems accumulate knowledges over generations
  • stress selfdetermination, desire has expertise via desire and memory
  • why desire should be smart? is smart a way of saying intentional, purposeful?
  • what does it matter that deleuze does not say desire is not smart?
  • immeasurable is about refusable to classify for purpose of unquestioned heirarchy
  • irreconciable – difference is inevitable
  • deleuze and guttari undersanding of desire is productive because they argue for necessary caution “art of dosages” opening body to connections that presuppose entire assemblage, circuts… passages and assemblages of intensity … gentle. lines of flight are not always predictable.

Week 7, CRM

CRM

JP King Methods Artist Talk

36 Minute video to prepare for JP King workshop on tracking research.

READING NOTES

  • generalized specialist, artist/designer/educator, interdisciplinary challenge of defining self, interdisicplinary critique + respect for methodological origins
  • method – procedure, methodology – branch of knowledge that deals w/ methods of particular discipline
  • methodological toolkit map
  • “in artistic research the method can be seen as a sort of map that informs both the research and the one reading the research, why and in what direction the research proceeded as it did.” mika hannula, juha suoranta, and tere vaden
  • non-verbal answers to non-verbal questions, masters is attempt to translate artistic practice into verbal language
  • research question allows for applications to exhibitions, scholarships
  • flow charts, prints exploring questions, giving away and leaving on streetcars
  • photographic research, visiting sites
  • in drafting thesis – how to articulate process? determined subject matter ( waste+relationship) methodological toolkit, techniques (visual documentaion, sensory ethnography, documentary filmmaking graphic design, presentation), process how does it come together (flowchart, what if, collection, transformation, display, what if this becomes that?) diagram = opportunity to talk about transformation of material and value as those things move through different stages of creative practice
  • class monday, mapping process, idea of experimental system

POST-READ

thinking about my own work, how to map ideas about my own work, the challenges in trying to unite “how do disabled artists keep making” (how does a disabled artist keep making, practice of speculative present) (budgeting of time and energy) and the sensory experiments with fractals and interpenetration/being in the world. how to take the tools i use 1) writing, poetry, narrative, non-fiction 2) photography, video, glitching, distortion 3) print making, illustration, abstraction, ones that i want to use (collage, wax, textile, audio, tactility), come together in a methodology. thinking about the tone that comes with using flat graphic design aesthetic / infographics versus the concept map made by iris haeussler. mapping of frameworks. also the practical challenges i’ve faced in trying to use mapping in the past (cog software, mapping in apt on roncesvalles,), either becomes too much of a creative exercise/presentation or includes too much detail. get lost in trying to articulate too much information.

having a hard time rn and feeling very much like im falling into patterns from undergrad, as much as from the unique stresses of the times as retrograde of my saturn return. focusing on faith and knowing i will get through this time and to cram/execute to the best that i can manage w/o perfectionism.

Experimental Systems and Epistemic Things

Hans-Jorg Rheinberger – “Experimental Systems and Epistemic Things” – A science history text but one that has been adopted by design researchers and research-creation scholars. It does an incredible job of describing how tools and subjects of investigation can switch position as the researcher gains technical proficiency. 

READING NOTES

  • “The sub ject is, as it were, internally excluded from its object.” 2
  • Procedure does not mean here merely method or methodology. For every procedure already requires an open sphere (offener Bezirk) in which it moves. And it is pre cisely the opening of such a sphere that is the fundamental event in research 6(heidegger)
  • l’The Experiment as Mediator between object and Subject (Goethe)
  • “Thus when we have done an experiment of this type, found this or that piece of empirical evidence, we can never be careful enough in studying what lies next to it or derives directly from it. This investigation should conce_rn us more- than the discovery of what is related to it.”1
  • “the theoretician puts certain definite ques tions to the experimenter,
  • What does it mean to speak of experimental systems, in contrast to this clear-cut rationalist picture of experimentation as a theory-driven activity?
  • if a research question were well defined it would be unnecessary to preform it
  • procedure defined by ambiguity,
  • systems of manipulation designed to give unknown answers to questions that the experimenters themselves are not yet able clearly to ask
  • experimental systems-are vehicles for ma terializing questions.
  • epistemic objects – objects of inquiry, present themselves in characteristic vagueness, embody what one does not yet know
  • The difference between experimental conditions and episte~ic thing~, there fore, is functional rather than structural
  • if both types of entities are engaged in a relation of exchange, blending, and mutual transformatin, why then not cancel the distinction altogether? does it not simply perpetuate the traditonal, problematic distinction between basic research and applied science, between science and technology?
  • it helps to assess the game of innovation, to understand the occurence of unprecedented events, and with that, the essence of research

The Chimera of Method

Jeroen Boomgaard – “The Chimera of Method” (p. 57 – 72) – A text focused on artistic practice and research-creation with a more relevant discourse. It intersects with Rheinberger well in that Boomgaard also discusses how artists use objects to investigate objects and the flexible relationship between these. 

READING NOTES

  • resistance to art as research often focuses on the question of the method.
  • Popper wanted to provide science with a de pendable basis with his ‘principle of falsification’ (i.e. a theory can only be regarded as truly proven when it is in principle possible to prove that it is incorrect), Kuhn demonstrated that scientific principles are constructs (paradigms) which stand until they are replaced by another outlook…
  • method has something to do with power as well: it is a manner of doing research but also a manner of speaking and/or writing that by definition structures the research and furnishes it with its power base.
  • every artist determines that method for himself and the idiosyncratic character of the rules lends art the aura of freedom and arbitrariness.
  • How can an artist who wishes to gain a PhD deal with a scholarly approach that in one breath calls itself into question and in the next breath ad vocates a compulsory but individually customisable system of rules as a means of production for art? How can artistic research derive its own methodology from this?
  • The question of the method, which is often timorously avoided in discus sions about research in the arts, is in fact axiomatic
  • Artistic research renders something visible, or furnishes an insight or knowledge that another form of research cannot ac complish, and that ‘something’ resides in the fact that art plays a pivotal role in the research.
  • how a method of research focused on dissemination can be combined with the non-dis power cursive of the work of art
  • The mode of research – asking questions in order to find answers – is complemented by a working method which prescribes how the re search – the questions and the answers, the process and the outcome – is written up and disseminated.
  • When artistic research is chiefly defined as an investigation in and through the arts and when the textual component is also re garded as a justification of the research – a descrip tion of what was done as well as an appraisal in the light of existing studies or other art projects – then that textual notation functions as a precept that struc tures the research in advance.
  • their research proves to be incapable of escaping this formulation during the process
  • How can it be discussed, received and evaluated as research?
  • Hallmarks of research, such as text, diagrams, statistics, documents and reports, then form part and parcel of the work of art.
  • The work wants to be visible as a form of research, but primarily to be seen and discussed as a form of art.
  • Formulating a research ques tion which can be investigated with the aid of existing scholarly disciplines as well as by means of their own artistic production is a way of preventing one of the two approaches predominating.
  • The basic premise is that the academic re search and research through art can complement or even comment on each other, but they cannot con verge.
  • combine a closed form with an open end, and it can there fore prompt an investigative direction of travel, but can never take it to a conclusion.
  • causes the conclusions that were apparently drawn in the text to be suspended again, with the work of art’s complexity forcing open the hermetic methodology of science.

INTERESTING CITATIONS AND DEFINITIONS

a priori: deductive, : relating to or derived by reasoning from self-evident propositions (MW)

axiomatic: taken for granted(MW)

discursive: marked by a method of resolving complex expressions into simpler or more basic ones (MW)

Week 7, CTS

Uncategorized

U.S. Third World Feminism- Differential Social Movement I

Sandoval, Chela. “U.S. Third World Feminism- Differential Social Movement I” pp. 40- 63. In Methodology of the Oppressed. Theory out of Bounds Volume 18, 2000.

READING NOTES

  • “hegemonic feminist theory ” denying, permitting, and producing difference.
  • U.S. third world feminism as a model for oppo sitional political activity and consciousness in the postmodern world. In mapping this model, a design is revealed by which social actors can chart the points through which differing oppositional ideologies can meet, in spite of their varying trajectories.
  • Louis Althusser’s theory of “ideology and the ideological state apparatuses.”
  • humans are called into being as citizen-subjects who act—even when in resistance—in order to sustain and reinforce the current dominant social order.
  • “means and occasions”7 do become generated 7 whereby individuals and groups in opposition are able to effectively challenge and transform oppressive aspects of identity and social order,
  • “equal rights,” “revolutionary,” “supremacist,” “separatist,” and “differential” forms of oppositional consciousness.
  • Differential conscious ness is the expression of the new subject position called for by Althusser—it permits functioning within, yet beyond, the demands of dominant ideology
  • contention is that the feminist forms of resistance outlined in what follows are homologous to five fundamental forms of oppositional consciousness that were ex pressed within all U.S. liberation movements active during the latter half of the twentieth century.
  • The application of differential consciousness generates grounds for making coal tions with decolonizing movements for emancipation in global affinities and associations. It retroatively provides a structure, a theory, and a method for reading and constructing identity, aesthetics, and coalition politics that are vital to a decolonizing postmodern politics and aesthetics, and to hailing a “third-wave,” twenty-first century feminism.
  • U.S. third world feminists is composed of “different kinds of humans,” new “mestizas,” “Woman Warriors” who live and are gendered, sexed, raced, and classed “between and among” the lines
    • “the Borderlands,” “la nueva Frontera.”
  • How did this systematic repression occur within an academic system that is aimed at recognizing new forms of knowledge?
  • 1980s hegemonic feminist scholars produced the histories of feminist consciousness that they believed typified the modes of exchange operating within the oppositional spaces of the women’s movement. These efforts resulted in systematic studies that sought to classify all forms of feminist political and aesthetic praxis.
  • from the perspective of U.S. third world femi nism: from this critical perspective they are revealed as sets of imaginary spaces, so cially constructed to severely delimit what is possible within the boundaries of each narrative.
  • manifestly different types of hegemonic femi nist theory and practice are, in fact, unified at a deeper level into a great structure that sets up and organizes the logic of an exclusionary U.S. hegemonic feminism.
  • first-phase “liberal feminism” is fundamentally concerned with “demonstrating that women are as fully human as men.
  • Jaggar too argues for the recognition of second-phase feminism, describing it as the moment when femi nists turn to Marxism as the way to undermine the feminism of the liberal first phase.
  • this third phase that women seek to uncover the unique expression of the essence of woman that lies beneath the multiplicity of all her experiences.
  • third-phase feminism was actualized under the names of either “cultural” or “radical” feminisms
  • the “liberal,” the “Marxist,” and the “cultural” forms, construct different modes of oppositional aesthetics, identity, and politics.
  • Jaggar’s book has much to say. She typifies first-phase “liberal feminism” as “tending to ignore or minimize” racial and other “difficult” differ ences, second-phase “Marxist feminism” as tending to recognize only differences of class, and third-phase “radical feminism” as tending to “recognize only differences of age and sex, to understand these in universal terms, and often to view them as bi ologically determined.” But fourth-phase “socialist feminism,” she hopes, will be capable of recognizing differences among women “as constituent parts of contem porary human nature.”
  • “liberal,” “Marxist,” “radical/cultural,” and “socialist” feminisms. We can schematize these phases as “women are the same as men,” “women are different from men,” “women are superior,” and the fourth catchall category, “women are a racially divided class.”
  • each position in this typology is an imaginary space
  • history of oppositional consciousness.
  • not as a typology, but as a topography of consciousness in opposition
  • These orienta tions can be thought of as repositories within which subjugated citizens can either occupy or throw off subjectivities in a process that at once enacts and decolonizes their various relations to their real conditions of existence.
  • feminist versions of four forms of con sciousness that appear to have been most effective in opposition to modernist modes of capitalist production insofar as these same four responses appear again and again across social movement theory and action of every type
  • Unlike its previous and modernist hegemonic version, however, this alternative topography of consciousness and action is not historically or teleologically orga nized; no enactment is privileged over any other; and the recognition that each site is as potentially effective in opposition as any other makes visible the differential mode of consciousness-in-resistance
  • addition of the fifth and differential mode of oppositional consciousness to these has a mobile, retroac tive, and transformative effect on the previous four, setting them all into diverse processual relationships.
  • I describe its locations categorically here as the “equal rights,” “revolutionary,” “supremacist,” “separatist,” and “differential” forms of consciousness-in-opposition.
  • The Equal-Rights Form the differences for which they have been assigned inferior status lay in appearance only, not in “reality.” Aesthetically, the equal-rights mode of consciousness seeks duplication; po litically, it seeks integration; psychically, it seeks assimilation. “liberal feminism.”
  • The Revolutionary Form second ideology identifies, legitimizes, claims, and intensifies its differences—in both form and content—from the category of the most human. the only way that society can affirm, value, and le gitimate these differences will be if the categories by which the dominant is ordered are fundamentally restructured.
  • The Supremacist Form Under “supremacism” the oppressed not only claim their differ ences, but they also assert that their differences have provided them access to a higher evolutionary level than that attained by those who hold social power.
  • The Separatist Form organized, rather, to protect and nurture the differ ences that define its practitioners through their complete separation from the dom inant social order.
  • The Differential Form of Consciousness and Social Movement “differential,” insofar as it enables move ment “between and among” ideological positionings it functions as the medium through which the equal-rights, revolutionary, supremacist, and separatist modes of opposi tional consciousness became effectively converted, lifted out of their earlier, mod ernist, and hegemonic activity
  • without making this kind of metamove, any “liberation” or social movement eventually becomes destined to repeat the oppres sive authoritarianism from which it is attempting to free itself
  • positing a tactical subjectivity with the capacity to de- and recenter
  • Cherríe Moraga defined U.S. third world feminist “guerrilla warfare” as a “way of life,” a means and method for survival.
  • She interpellates a constituency of “U.S. third world feminists and their allies” when she writes that it is between such lines that “the truth of our connection lies. ”49
  • The differential mode of social movement and consciousness de pends on the practitioner’s ability to read the current situation of power and self consciously choosing and adopting the ideological stand best suited to push against its configurations, a survival skill well known to oppressed peoples
  • Within the realm of differential social movement, ideological differences and their oppositional forms of conscious ness, unlike their incarnations under hegemonic feminist comprehension, are under stood as tactics—not as strategies.
  • “la conciencia de la mes tiza.” This is the consciousness of the “mixed blood,” she writes, born of life lived in the “crossroads” between races, nations, languages, genders, sexualities, and cul tures, an acquired subjectivity formed out of transformation and relocation, move ment guided by la facultad, the learned capacity to read, renovate, and make signs on behalf of the dispossessed.
  • “outsider/within” identity that guides movement of being according to an ethical commitment to equalize power between social constituencies
  • Audre Lorde, a “whole other structure of opposition that touches every aspect of our existence at the same time that we are resisting.”
  • does not “support re pression, hatred, exploitation and isolation,” but which is a “human and beautiful framework,” “created in a community, bonded not by color, sex or class, but by love and the common goal for the liberation of mind, heart, and spirit.
  • (1) the equal rights (“liberal,” and/or “integrationist”) mode; (2) the revolutionary (“socialist” and/or “insurgent”) mode; (3) the supremacist (or “cultural-nationalist”) mode; (4) the separatist mode; and (5) the differential (or “womanist,” “mestiza,” “Sister Out sider,” “third force,” U.S. third world feminist . . . it has generated many names)
  • previous four, not as overriding strategies, but as tactics for intervening in and transforming social relations.
  • deploys each mode of resistant ideology as if it represents only another potential technology of power.
  • set of principled conversions that requires (guided) movement, a directed but also a diasporic migration in both consciousness and politics, performed to ensure that ethical commitment to egalitarian social rela tions be enacted in the everyday, political sphere of culture
  • recognizing the structures around which consciousness disperses and gathers in its attempts to challenge social powers
  • subjugated citizens either occupy or throw off subjectivity
  • dialectical modulation between forms of consciousness permits functioning within, yet beyond, the demands of dominant ideology: the practitioner breaks with ideology while also speaking in and from within ideology.
  • oppositional expressions of power as consensual illusions.
  • the differential mode of resistance represents a new form of historical consciousness

POST-READ


i feel like sandoval is saying mode a differential conciousness as a mode of social action is already being enacted and she’s giving a name to it so it can be used and recognized more broadly. i am thinking about code switching and being sensitive to using different language in different situations, applying that kind of idea to feminist movements.

Chapter 1 Feminism is Sensational

Ahmed, Sara. Chapter 1 Feminism is Sensational pp.21-42 in Living a Feminist Life, 2017.

READING NOTES

POST-READ


Ahmed is very easy to read and I look forward to reading more of her other works (she appears often on my reading list!)

Module

NOTES

  • differential consciousness – us third world feminisms
  • mestiza consciousness (anzaldua) – oppositional living at the borderlands, those that exist outside socially constructed centre
    critique of feminist movements, reflect white hegenomy in united states.
  • Jagger “phases of feminist thinking” doesn’t reflect how it intersects with race and class, attempt w/ socialist feminist “women are a racially devided class.” Jagger believes “us third world feminism” is descriptive/anecdotal and not worth of theorerizing
  • Oppositional praxis (euro-american white feminists)
    • liberal feminism – ex. voting rights
    • marxist – equality to men is not enough, wanting to restructure system
    • cultural – claims of female superiority (essentialist: maternal instinct,
    • what a woman “is,” centre potential for social change in hands of women)4
    • socialist feminism – class differences as a key characteristic of inequality, and by extension race
  • Sandoval – not negation of Jagger’s phases but rejection of theory that doesn’t include lived experiences. difference of sandoval vs jagger = jagger limits, sandoval emergents, moving, method
    • equal rights form – intergration and assimilation4
    • revolutionary form – women stop trying to equal achievements of men, pushback for radical change
    • supremacist form – women centered leadership, different experiences valid/superior to others w/o same struggle (representation)
    • separatist form – “separation from the dominant social order” (p 56)
    • differential conciousness – “history of oppositional conciousness,” aim to not have boundary driven categories, mobility in political and material ways, moving between and among ideological positionings, flexible mobile diasporic nomadic, tactical instead of strategic (tact vs strategy, micro vs macro)
  • Sarah Ahmed
    • sensation as a form of mobilization (more feeling than affect)
    • tactics of sandoval in use, use to think about differential conciousness.
    • how do come to you align yourself with certain lines of thinking?
    • coming to terms with being in opposition to dominant positons

CRM Reading Response

Uncategorized

Ok to add own reading for this process if they feel the bibliography does not fulfill their interests/needs…Opportunity to clarify questions on the readings, demonstrate their understanding of the methodologies covered in class, and add personal insights or extra research information to the issues discussed… Find a case study example of art/design/media/curatorial practice to illustrate discussion of, and questions about, the theory in the specific article.

  • What questions do I have about research-creation?
    • how does research (knowledge making) as a (speculative) event emerge in the practice of / how is it demonstrated in the practice of a disability artist? (Springgay)
    • What is it about a practice that makes it research-creation? Can you apply research-creation as a framework to a practice that does not consider itself that way?
    • how do disability artists take daily-practice, incremental/partial/diffuse experimentations and translate the EVENTS into other forms of publication to get at different aspects of research?
    • how do disability artists honour emergent polydisclinary drives and how does that emerge in their work?
    • what makes someone a disability artist? (presenting as such)
    • what does function does research-creation serve for disability artists? assertation that this kind of knowledge production is valuable.
  • what does this have to do with iris haeussler?
    • Florence Hasard, “The psychologist on our team suggests that she was haunted by her past experience as a nurse during WWI, which lead her to focus on the fragility and ephemerality of the human body.”
    • artist statement – artists echoed in work of Florence Hasard, often women artists who become institutionalized – Séraphine Louis, housecleaner institutionalized for “chronic psychosis,” – Agnes Richter, seamstress institutionalized for acute delusional episodes (https://florencehasard.org/artist-statement)
    • fictionalizing as a means of creating distance between private and public, how to create distance between the self and work, how to get out from under yourself…

Artists

Adelaide Damoah – endometriosis, performance, decolonization
Deborah Padfield – Inside the Metaphor, photography research-practice, presentation of work via writing and presentation, co-collaboration with service users

Deirdre Logue

Vanessa Dion Fletcher https://www.dionfletcher.com/

Katherine Araniello – Sick, Bitch, Crip Dance – https://www.youtube.com/watch?v=vJVgQysT_f8

Additional Readings

Scarry, E. (1985) The body in pain: The Making and Unmaking of the World.
Lynne Beckenstein (2017) Listening to color: a set of propositions on pain as feminist aesthetic, Women & Performance: a journal of feminist theory, 27:3, 283-300, DOI: 10.1080/0740770X.2017.1365439


Bissell, David. “Obdurate Pains, Transient Intensities: Affect and the Chronically Pained Body.” Environment and Planning A: Economy and Space, vol. 41, no. 4, Apr. 2009, pp. 911–928, doi:10.1068/a40309.

Rice, C., LaMarre, A, & Mykitiuk, R. (2018). Cripping the ethics of disability arts research. Catriona Macleod, J. Marx, P. Mnyaka, & G. Treharne (Eds.), Handbook of ethics in critical research: Stories from the field (pp. 257-272). London: Palgrave.

Rice, C. Multimedia Storytelling Methodology: Notes on Access and Inclusion in Neoliberal Times. Canadian Journal of Disability Studies, University of Waterloo. 2020.