This website contains a number of public resources as well as our members resources. IVSA members can submit content to the site from the members area.
This is the first of a two-part, auto-ethnography about teaching and learning with documentaries. Given the increasing substitution of video screens for flesh and blood professors it is critical to think about both the contexts as well as the contents of these pedagogic practices.
I present the installation Geographies of the Imagination, an arts-based ethnography about long-term exile, as a form of public ethnography that unveils the acquisition and transmission of ethnographic knowledge as interactive, emergent, and creative.
Graffiti artists at Eurocultured 2007 in Manchester talk about the origins, inspirations and motivations for their work. (First shown at the International Visual Sociology Association Conference, New York University, July 2007.)
ERIC SENCINDIVER With an emphasis on versatility, this collection of t-shirts has been designed to be All-purpose for any and every sports fan. Today’s sports fan is an interesting character as they relate to today’s globally connected world. Fans create alliances with certain sports clubs/teams for a wide variety of reasons.
The IVSA is governed by its Executive Board, which consists of President, Vice-President, Treasurer, Technology Advisor, Visual Studies Editor, Graduate Student Representative, and nine elected Board Members. The Editor, Technology Advisor, and Graduate Student Representative are nominated by the President and ratified by the Executive Board.
The following IVSA Executive Board positions are up for election:
- 3 Board members, regular term (3 years)
- 1 board member, short-term, immediate start (18 months) to fill position of a recently-resigned board member
We are delighted to share the Call for Papers for the IVSA 2020 Annual Conference at UCD in Dublin, Ireland with you. Our theme – Visualising Social Changes: Seen and Unseen – is meant to highlight the reality that our societies are constantly changing from the individual level in our own everyday lives to the planet level effects of human induced climate change. It is also meant to confront those who wish to freeze and reverse social change, returning to a nostalgic populist past in which things were better and people were more like me. It is meant too to challenge ourselves as visual sociologists to address the conceptual and methodological issues that arise from attempting to visually document ever-changing social processes from a particular perspective using static or delimited moving forms such as photographs, video and film.