Joshua Garland

Joshua Garland’s research project, Framing Nature: Image Construction, Diffusion and Reception within the Environmental and Climate Movement involved a visual content analysis of environmental and climate movement imagery.

This project explored the possible avenues through which a visual re-imagining and framing of human-Nature relations may extend beyond a mutually destructive relationship to one where interwoven agencies are realised within the non-human. This represented a novel idea focused specifically on images within the cultural reproduction of Nature and society, and the implications of current visualisations and imaginations around this relationship. Do they, for instance, reproduce the long-standing Western/Eurocentric construction of Nature as ‘landscape’ which narrows the scope for valuing and interacting with the non-human beyond the appreciation of its visual beauty or exploitability as a resource; rendering it as a passive, neutral object? Or, are alternative interactions and identities explored within these visuals as part of a challenge towards existing value structures and understandings of Nature and society’s relation to it?

Yelyzaveta Glybchenko

In “Coloring outside the lines? Imaginary reconstitution of security in Yemen through image transformations”, Yelyzaveta Glybchenko develops the novel methodology of “imaginary reconstitution of security” during-/post-war communities through transformations of photographic peace images. Her methodology is a unique case of using digital visual image transformations for building moving security/peace constellations, which can express negotiated malleable demos of peace arrangements.
This way, the methodology of “imaginary reconstitution of security” is a new possibility to make the processes of designing and implementing peace agreements more democratic through digital visual deliberation and critical local empowerment.

Tricia Ong

Tricia Ong’s design of a novel visual methodology: the Clay Embodiment Research Method (CERM) was inspired by critical ethnography and Participatory Action Research. The CERM is a mixed method approach comprised of 1) active participant observation, 2) a series of seven participatory clay body mapping workshops and 3) a group interview using photoethnography.

Paola Tine

Paola Tine’s artbook She Fell and Became a Horse: An Experiment in Ethnofiction is an experiment in interpretative ethnography through ethnofictional means of representation. Through painting, drawing, and text, and with the accompaniment of local music, it explores the existential journey of three Nepali women as they fight against domestic hierarchies and gendered politics in the context of their daily lives. By building on their real-life stories collected through long-term data collection, Tine proceeds to paint and tell other tales that originate from insights emerged from our ethnographic encounter. She focuses here on conflictual domestic relationships and on the ways these lead to the construction of an idealised past and a dreaded – as much as sought – future.

JULIE PATARIN-JOSSEC

Julie Patarin-Jossec’s work tests the boundaries of experimental practice and questions disciplinary presuppositions related to the use of photography in sociological research. Julie’s ethnographic portraits result from a long-term ethnography with astronauts, the composition and subject of each photograph is influenced by the immersion of the ethnographer and an additional life story interview with the pictured astronauts.

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    One advantage of photography is that it’s visual and can transcend language.

    Lisa Kristine

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    For any picture, ask yourself what question or questions it might be answering. Since the picture could answer many, questions, we can decide what question we are interested in.

    Howard Becker

  • So it is my firm belief, that if you want nowadays, to have a clear and distinct communication of your concepts, you have to use synthetic images, no longer words.

    Vilém Flusser

  • Photographers learn to interpret photographs in that technical way because they want to understand and use that ‘language’ themselves (just as musicians learn a more technical musical language than the layman needs). Social scientists who want to work with visual materials will have to learn to approach them in this more studious and time-consuming way

    Howard Becker

  • Watching a documentary with people hacking their way through some polar wasteland is merely a visual. Actually trying to deal with cold that can literally kill you is quite a different thing.

    Henry Rollins

  • If you want to tell the untold stories, if you want to give voice to the voiceless, you’ve got to find a language. Which goes for film as well as prose, for documentary as well as autobiography. Use the wrong language, and you’re dumb and blind.

    Salman Rushdie

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    If it’s far away, it’s news, but if it’s close at home, it’s sociology.

    James Reston

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    Visual culture is now the study of how to understand change in a world too enormous to see but vital to imagine.

    Nicholas Mirzoeff

  • I believe that we face incredible obstacles in our attempts to see the world. Everything in our nature tries to deny the world around us; to refabricate it in our own image; to reinvent it for our own benefit. And so, it becomes something of a challenge, a task, to recover (or at least attempt to recover) the real world despite all the impediments to that end.

    Errol Morris

  • We never really know what’s around the corner when we’re filming – what turn a story will take, what a character will do or say to surprise us, how the events in the world will impact our story.

    Barbara Kopple

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    There are dignified stupidities, and there are heroic stupidities, and there is such a thing as stupid stupidities, and that would be a stupid stupidity not to have a camera on board.

    Werner Herzog

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    Sometimes one picture is equal to 30 pages of discourse, just as there are things images are completely incapable of communicating.

    William S. Burroughs

  • You try your hardest to give people their space, but at moments you know you’re capturing their image in ways they may or may not be okay with. It’s that rocking back and forth between respect and betrayal that I feel like is at the heart of the film.

    Kirsten Johnson

  • Give us adequate images. We lack adequate images. Our civilization does not have adequate images. And I think a civilization is doomed or is going to die out like dinosaurs if it doesn’t develop an adequate language for adequate images.

    Werner Herzog

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    Every photograph promises more than it delivers and delivers more than it intended.

    Steve Harp

  • Before I became a film major, I was very heavily into social science, I had done a lot of sociology, anthropology, and I was playing in what I call social psychology, which is sort of an offshoot of anthropology/sociology – looking at a culture as a living organism, why it does what it does.

    George Lucas

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    The task for sociology is to come to the help of the individual. We have to be in service of freedom. It is something we have lost sight of.

    Zygmunt Bauman

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    The function of sociology, as of every science, is to reveal that which is hidden.

    Pierre Bourdieu

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    Reality changes; in order to represent it, modes of representation must change.

    Bertolt Brecht

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