Escolar Documentos
Profissional Documentos
Cultura Documentos
I pick up from where Jenna Burrell left off in her recent post “Persuasive
Formats” to interrogate the medium of writing as a privileged mode of
expression of academic ethnographic practices. Early in graduate school, I
learned that the eventual outcome of doing ethnographic research is the
publication of a monograph. People around me use the word “monograph”
to refer to a book-length treatment of research of a single subject published
by an academic press [they looks something like what’s shown in Figure 1].
This is, however, one of many definitions of monograph (apparently
humanists have a definition stricter than scientists and librarians). Burrell
attributes the scarcity of academic publication to economic reasons, and
suggests online publishing as a potential solution to remedy the cost of
print-based publishing and to enable the integration of visual materials in
publications.
Figure 1: Ethnographic monographs in the stacks in the Occidental library
I’m not advocating for abolishing academic book publishing. Others have
and have discussed the economic and ideological structure that supports
academic publishing and valorizes the monograph.) Instead, I want to
make room for a serious consideration of ethnographic expressions that
are not strictly based in text, either in the form of a book or a journal
article, but are dynamically articulated in interactive and multimediated
systems afforded by digital technology. Some of you might find this claim
to be professionally irrelevant to you, if your preoccupation with
ethnography falls outside of the academy. But the concerns and techniques
that I will talk about may pique your interest as you consider the ways to
communicate findings and analysis to clients, collaborators, and
stakeholders.
One this site, the user can play back location recordings of conversations of
the inmates, putting these women’s voices in dialog with academic texts
about the prison industrial complex and theories of utopia, resistance, etc
[Figure 5]. Juxtaposing informants’ voices with texts by academicians such
as Angela Davis and Frederic Jameson validates the experience and
knowledge of these women. This epistemological parallel destabilizes the
social distinction between an imprisoned and a free person, deconstructing
notions of deviance in the society.
Figure 5: “Public Secrets”, juxtaposing informants’ and scholars’ voices
The EVIA (the Ethnographic Video for Instruction and Analysis) Project is
a great example of a multi-tier digital archive that serves the three-prong
function of preservation, annotation, and publication. The EVIA project
staff and contributors work to further their ambitious goal of creating a
“support system and a suite of software tools for video annotation, online
collection searching, controlled vocabulary and thesaurus maintenance,
peer review, and technical metadata collection.” The site’s content is
clustered as video collections, each created and organized by an
ethnographer with particular subject speciality. A collection consists of a
series of event-based videos with detailed annotations, along with a long-
form narrative that encapsulates the scope of the collection and
contextualizes it in social, historical, and geographical terms. Within a
single collection, users could freely skip across events or scenes; or
alternatively, users may browse content at the pre-curated, collection level,
starting with the collection-level background narrative, then working their
way down to each of the video events that are further subdivided into
scenes. The media-enriched interface enables the users to read the
annotations and simultaneously use the fine-grained playback functions
for closely examine the recording [Figure 6].
Most of the site content is organized into paths based in individual music
track. While listening to the track, the user may read about the production
context of the song, and browse the credits and interview transcripts of the
local participants involved in the making of each of the tracks in both
Chinese and English [Figure 7]. These supplementary materials serve as
raw data that could enrich the interpretation of the song (the interpretive,
secondary-source content). Making available primary source materials also
encourages the users to not only imagine the process of creation. It also
enables the users to form an individual relationship to these raw materials,
while inviting them to join the remix of these geographically and
temporally situated cultural artifacts.
Jenna Burrell evoked the idea of“performing the fieldwork experience for
audiences – raw data, transparency, and visuals” in her recent post. I think
that this metaphor of performance can also be applied to the ethnographic
process. We can reconsider the ethnographer as a performer along the
fieldwork-ethnography continuum. If field research is a snapshot of a lived
and alive culture, then the ethnographic production is a representation of a
part of this lived culture at a specific time and place. Most researchers (I
included) revisit field materials to review, re-evaluate, and (re)-produce
analysis. Oftentimes, this process of re-view and re-analysis leads to
further field interactions and documentation, thus forming a cyclical
process from field interaction, collection, analysis, and then back to
interaction. Field documentation accumulates as researchers extend their
interaction in the field.
In light of the ethics and politics of access, I will talk about digital content
management system as a possible approach to democratizing access and
authorship in ethnographic knowledge production. A prominent feature of
digital content systems is the ability to allow multiple authors on a single
platform. The multi-author feature facilitates and organizes the sounding
of multiple voices. This has particular implications for the politics around
authorship and access in light of colonial practices associated with the
history of ethnography – probing at the problematic western/northern-
hemispheric/first-world representations of non-western/southern-
hemispheric/third world experiences.
Conclusion
To conclude, I will tell you a little of dream that I have. After I came back
from Taipei, I became frustrated by my inability to contact the members of
the Mongka community that I befriended in Taipei. In particular, my main
informant, a grandma-aged woman who took me in as her “god-daughter,”
refused to give me her address and told me that she’s sick. I’m not sure
what that meant, but I could tell that she, along with others in the group,
prefers face-to-face interactions over other mediated forms of contact.
[1] See Stoller, Paul. 2011. The Taste of Ethnographic Things. Philadelphia,
PA: University of Pennsylvania Press, pp. 8-9.
[2] See McPherson, Tara. 2009. “Introduction: Media Studies and the
Digital Humanities,” Cinema Journal 48, No. 2, Winter, p. 121
[3] Browse: Christen, Kim and Chris Cooney. 2006. “Digital Dynamics
Across Cultures,”Vectors. Fall, Volume 2, Issue 1, Ephemera.
http://vectors.usc.edu/projects/index.php?project=67 (accessed January
22, 2011).
[4] Browse: Daniel, Sharon and Erik Loyer. 2006. “Public Secrets,”
Vectors. Winter, Volume 2, Issue 2, Perception.
http://vectors.usc.edu/projects/index.php?project=57 (accessed July 9,
2013).