Digital ethnography can be understood as a method for representing real-life cultures through storytelling in digital media. Enabling audiences to go beyond absorbing facts, computer-based storytelling allows for immersion in the experience of another culture. A guide for anyone in the social sciences who seeks to enrich ethnographic techniques, ↑Digital Ethnography offers a groundbreaking approach that utilizes interactive components to simulate cultural narratives.
Integrating insights from cultural anthropology, folklore, digital humanities, and digital heritage studies, this work brims with case studies that provide in-depth discussions of applied projects. Web links to multimedia examples are included as well, including projects, design documents, and other relevant materials related to the planning and execution of digital ethnography projects. In addition, new media tools such as database development and XML coding are explored and explained, bridging the literature on cyber-ethnography with inspiring examples such as blending cultural heritage with computer games.
One of the few books in its field to address the digital divide among researchers, Digital Ethnography guides readers through the extraordinary potential for enrichment offered by technological resources, far from restricting research to quantitative methods usually associated with technology. The authors powerfully remind us that the study of culture is as much about affective traits of feeling and sensing as it is about cognition—an approach facilitated (not hindered) by the digital age.
The Chronicle of Higher Education yesterday published an excellent article on ↑David Graeber: ‘↑A Radical Anthropologist Finds Himself in Academic “Exile”‘
His academic “exile,” as he calls it [Graeber meanwhile is a professor at the ↑LSE], has not gone unnoticed. “It is possible to view the fact that Graeber has not secured a permanent academic position in the United States after his controversial departure from Yale University as evidence of U.S. anthropology’s intolerance of political outspokenness,” writes Jeff Maskovsky, an associate professor of anthropology at the Graduate Center of the City University of New York, in the March issue of American Anthropologist.
That charge might seem paradoxical, given anthropology’s reputation as a leftist redoubt, but some of Mr. Graeber’s champions see that leftism as shallower than it might first appear. Anthropology “is radical in the abstract,” says ↑Laura Nader, a professor in the field at the University of California at Berkeley. “You can quote Foucault and Gramsci, but if you tell it like it is,” it’s a different story, she says. [...]
Responding to anthropologists’ frequent claim that they embrace activist scholarship, he [Graeber] echoes Ms. Nader: “They don’t mean it”—at least when it comes truly radical activism.
“If I were to generalize,” Mr. Graeber says, “I would say that what we see is a university system which mitigates against creativity and any form of daring. It’s incredibly conformist and it represents itself as the opposite, and I think this kind of conformism is a result of the bureaucratization of the university.” [...]
But she [Laura Nader] finds it deplorable that scholars would value superficial clubbability over originality of thought; she decries the “‘harmony ideology’ that has hit the academy.” She also thinks the fact that he “writes in English,” eschewing jargon, hasn’t helped him. [...]
Mr. Graeber, who says he gets along just fine with his colleagues in London—and, indeed, with most of his former colleagues at Yale—has his own take on what scholars mean by “collegiality”: “What collegiality means in practice is: ‘He knows how to operate appropriately within an extremely hierarchical environment.’ You never see anyone accused of lack of collegiality for abusing their inferiors. It means ‘not playing the game in what we say is the proper way.’”
Outspoken anthropologist ↑Sarah Kendzior [<-- have a look at her blog!] has an opinon piece published at Al Jazeera, called ‘↑Academia’s indentured servants.’ Very worthwhile—here are some snippets from the beginning and the end:
On April 8, 2013, the New York Times reported that 76 percent of American university faculty are adjunct professors – an all-time high. Unlike tenured faculty, whose annual salaries can top $160,000, adjunct professors make an average of $2,700 per course and receive no health care or other benefits. [...]
Last week, a corporation proudly announced that it had created a digital textbook that monitors whether students had done the reading. This followed the announcement of the software that grades essays, which followed months of hype over MOOCs – massive online open courses – replacing classroom interaction. Professors who can gauge student engagement through class discussion are unneeded. Professors who can offer thoughtful feedback on student writing are unneeded. Professors who interact with students, who care about students, are unneeded.
We should not be surprised that it has come to this when 76 percent of faculty are treated as dispensable automatons. The contempt for adjuncts reflects a general contempt for learning. The promotion of information has replaced the pursuit of knowledge. But it is not enough to have information – we need insight and understanding, and above all, we need people who can communicate it to others.
And if you already are at it, you may also like her essay on why anthropologists do ignore the Internet: ‘↑On Legitimacy, Place and the Anthropology of the Internet‘ at Ethnography Matters.
VisualPunker has amassed a ↑nice collection [containing a lot of animated gifs] of futuristic and retrofuturistic interfaces and HUDs from anime, other motion pictures, and computer games. In this respect I fullheartedly recommend ‘↑Make it so: Interaction design lessons from science fiction‘ (Shedroff & Noessel 2012):
Many designers enjoy the interfaces seen in science fiction films and television shows. Freed from the rigorous constraints of designing for real users, sci-fi production designers develop blue-sky interfaces that are inspiring, humorous, and even instructive. By carefully studying these “outsider” user interfaces, designers can derive lessons that make their real-world designs more cutting edge and successful.
Make It So shows:
Sci-fi interfaces have been there (almost) from the beginning
Sci-fi creates a shared design language that sets audience expectations
If an interface works for an audience, there’s something there that will work for users
Bad sci-fi interfaces can sometimes be the most inspiring
There are ten “meta-lessons” spread across hundreds of examples
You can use—and not just enjoy—sci-fi in your design work
Over 150 lessons and 10 “meta” lessons that developers can use to enhance their realworld interfaces
There is a ↑companion blog to the book, carrying additional visual material, interviews, and more. All this is a fine example of the to and fro between fictional and non-fictional technology, the mutual influences, one creating and reproducing the other and vice versa.
The above is the most clear-cut explanation of ‘how a ↑differential gear works’ I’ve ever seen. The video below is complementary—↑Richard Feynman explains why a train car stays on its tracks when ‘going around the corner,’ although no differential gears are involved:
From ↑ITU statistics intac made some interesting infomap posters. The above one shows the ↑Internet usage around the globe (click the picture for full-size). The lighter a nation state is rendered, the lesser percentage of its population are using the Internet. As you can see a lot of Africa completely drops out, rendering the continent as a skeleton. The poster below takes ↑a closer look on Africa and gives both percentages and total figures of Internet users and mobile subscribers.
It’s scheduled for release in late October this year—‘Batman: Arkham Origins’ (Warner Bros. Games Montreal 2013), the prequel to ‘Batman: Arkham Asylum’ and ‘Batman: Arkham City’ (Rocksteady Studios 2009, 2011). Here are the until now ↑known details, and here is a ↑full history of the ‘long line of Batman games stretching back more than 25 years.’
When I was a kid, ↑Thatcher was the headmistress of our country. Her voice, a bellicose yawn, somehow both boring and boring—I could ignore the content but the intent drilled its way in. She became leader of the Conservatives the year I was born and prime minister when I was four. She remained in power till I was 15. I am, it’s safe to say, one of Thatcher’s children. How then do I feel on the day of this matriarchal mourning?
↑Natsumi Hayashi lives in Tokyo and mainly photographs levitating self-portraits, sometimes even in 3D—see her ↑how-to. Her blog ↑yowayowa camera woman diary almost exclusively consists of the mentioned levitating pictures (with some cats interspersed) which for quite some time appeared on a daily basis. To my eye the pictures have a poetic quality. The sheer mass of them, no comments whatsoever, the somewhat distanced facial expression—all adds to it. Natsumi had an ↑exhibition of her pictures in 2012, ↑another one took place in late March 2013 in the Spiral Garden. Also in 2012 her first photo book, naturally titled ‘Today’s Levitation’ was published by Seigensha. Finally I know where all the levitating online pictures from East Asia stem from—the fashion was started by Natsumi’s blog and then went viral. On the one hand the pictures are instilling within me the ambience of some of ↵Mœbius‘s drawings. On the other hand I’ve got an association with certain visuals from Clive Barker’s ‘↑Lord of Illusions‘ (1995), showing illusionist Swann levitating, but can’t find the right picture.
Nice, someone cites me in the affirmative ;)
Führen wir uns nun vor Augen, dass z.B. Knorr für die Ethnologie zu Recht festhält: »Cyberanthropology ist eine Spielart der Ethnologie des 21. Jahrhunderts. Eine notwendige, ja unausweichliche [...]. Denn nur wer sich mit jetztzeitiger Technologie befasst, kann auch den Menschen des Hier und Heute verstehen« (2011, 161; auch Escobar 1994, Breidenbach/Zukrigl 2002), so liegt die Antwort auf die Frage nach dem besonderen Forschungsdesiderat auf der Hand. Denn die Beschäftigung mit interkultureller Cyberkommunikation als Spielart interkultureller Kommunikation des 21. Jahrhunderts ist unausweichlich, um einen guten Teil der interkulturellen Kommunikation im Hier und Heute zu verstehen. (Reutner 2012: 14)