<?xml version="1.0" encoding="utf-8"?>
<rdf:RDF 
 xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"
 xmlns="http://purl.org/rss/1.0/"
 xmlns:dc="http://purl.org/dc/elements/1.1/"
 xmlns:dcterms="http://purl.org/dc/terms/"
>
  <channel rdf:about="http://journals.openedition.org/anthrovision">
    <title>Anthrovision</title>
    <link>http://journals.openedition.org/anthrovision</link>
    <description>Journal focused on visual anthropology and the anthropology of the visual </description>        
    <items>    
      <rdf:Seq>      
        <rdf:li resource="http://journals.openedition.org/anthrovision/10668" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/10830" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/10710" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/10910" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/10770" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/10497" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/10605" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/10272" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/9620" />
        <rdf:li resource="http://journals.openedition.org/anthrovision/9990" />
              </rdf:Seq>  </items>  </channel>
  <item rdf:about="http://journals.openedition.org/anthrovision/10668">
    <title>Embodied Polygraphies and Sensory Experimentations</title>
    <description><![CDATA[
      <p class="texte">Over the past fifteen years, the social sciences have witnessed an increasing integration of artistic approaches into our academic practices. Following on from the ‘postmodern critical turn’ that began more than three decades ago (Clifford and Marcus 1986), we are now in the midst of a movement focused on experimentation in our encounters with art, not just as an object of study, but as an important part of our methodologies. Such experimentation carries a reflexive dimension on these methodologies, whether the latter are developed in the field or at the time of sharing fieldwork materials. The creative effervescence underpinning the overall process testifies to a renewed concern to ‘talk about the field’ in a way that is not narrowly academic or reserved for an audience of enlightened intellectuals. It may be that, for the pioneers of anthropological cinema, the approach is nothing new. Nevertheless, for many of us, there seems to be at play a ‘revolution’ in the literal sense, tha...</p>]]></description> 
    <dc:creator>Véronique Beneï</dc:creator> 
    <dc:creator>Flo Boux</dc:creator> 
    <dc:creator>Juliette Salme</dc:creator>
    <link>http://journals.openedition.org/anthrovision/10668</link>
    <dc:date>2024-11-27</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/10830">
    <title>La réflexivité à l’épreuve du crayon</title>
    <description><![CDATA[
      <p class="resume"><span xml:lang="fr" lang="fr">Cet article se penche sur la réflexivité des enquêté·e·s et sur les outils permettant de la saisir. Il s</span>’<span xml:lang="fr" lang="fr">intéresse en particulier à l’étude du processus de création d</span>’<span xml:lang="fr" lang="fr">une image comme moyen d</span>’<span xml:lang="fr" lang="fr">analyser le regard des créateur·rice·s, car permettant d</span>’<span xml:lang="fr" lang="fr">objectiver leur conscience réflexive. À travers le cas d</span>’<span xml:lang="fr" lang="fr">un projet artistique, l</span>’<span xml:lang="fr" lang="fr">article met en exergue la corrélation entre pratique de dessin, réflexivité et regard. Il s</span>’<span xml:lang="fr" lang="fr">agit de montrer en quoi l’étude du processus de création aide à saisir l’être au monde des enquêté·e·s, en mettant en lumière les dynamiques culturelles et sociales qui traversent et influencent leurs choix artistiques. L</span>’<span xml:lang="fr" lang="fr">article apporte un exemple d</span>’<span xml:lang="fr" lang="fr">observation indirecte du regard et de co-production des données. </span></p>]]></description> 
    <dc:creator>Morgane Tocco</dc:creator>
    <link>http://journals.openedition.org/anthrovision/10830</link>
    <dc:date>2024-11-27</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/10710">
    <title>Le dessin comme médiateur du sensible</title>
    <description><![CDATA[
      <p class="resume"><span xml:lang="fr" lang="fr">Dans cette contribution, je propose de m'attarder sur quelques moments ayant ponctué mon « cheminement perceptif » (Wathelet et Candau 2013) auprès de deux taxidermistes rencontrés dans le cadre d’une recherche autour de la modélisation du vivant comme révélatrice de nos rapports à la nature. Ce cheminement a en effet été ponctué par l’utilisation du dessin comme outil ethnographique et par une réflexion sur la place que pouvait occuper cette technique pour accéder et rendre compte du sensible tant dans le travail du taxidermiste que dans ma propre recherche. Nous découvrirons ainsi comment l'usage du dessin a pu révéler sa richesse comme médiateur (Hennion 2007, 2015 ; Escallier 2016), offrant une porte à des savoirs incorporés, parfois difficilement transmissibles par le langage parlé.</span></p>]]></description> 
    <dc:creator>Isabelle Borsus</dc:creator>
    <link>http://journals.openedition.org/anthrovision/10710</link>
    <dc:date>2024-11-27</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/10910">
    <title>Le monde est à l’intérieur de moi </title>
    <description><![CDATA[
      <p class="resume"><span xml:lang="fr" lang="fr">Cet article aborde ma démarche de recherche-création dans une thèse en anthropologie portant sur l’expérience de l’agoraphobie en Norvège. J’aborde comment j’ai entrecroisé deux types d’écriture pour mener ma recherche, soit la poésie et l’écriture ethnographique. Je rendrai compte de la manière dont j’ai combiné des méthodologies en anthropologie sensorielle et en anthropologie de la poésie pour capter la complexité́ de l’expérience de l’agoraphobie vécue par des informateurs rencontrés en Norvège. Je présenterai mon vidéo-poème </span><em><span xml:lang="fr" lang="fr">Luminaire</span></em><span xml:lang="fr" lang="fr"> et un poème ethnographique issu de ma recherche afin de discuter comment la poésie et la création littéraire peuvent nous mener sur des pistes pertinentes pour raffiner notre travail ethnographique. </span></p>]]></description> 
    <dc:creator>Roseline Lambert</dc:creator>
    <link>http://journals.openedition.org/anthrovision/10910</link>
    <dc:date>2024-11-27</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/10770">
    <title>Drawing as a Heuristic Practice Throughout the Ethnographic Process</title>
    <description><![CDATA[
      <p class="resume">In this article, I reflect on my practice of drawing during fieldwork and throughout the analysis and writing process of my PhD Thesis. The aim here is to explore the heuristic potential of drawing, well before any illustrative use. Rather than in the production of images, the major interest of drawing lies in the highly revealing dimension of the process itself. Through the physical commitment it implies, each sketch is a sensuous coming back to ethnographic material, as a pencil-in-hand meditation. Regardless of any aesthetic or artistic qualities of the productions, the very act of drawing provides the opportunity to pause and consider one’s fieldwork without words, by connecting the ethnographer to feelings and embodied memories. Then only after, if drawings eventually enter a restitution process, they possess an evocative power where the author’s subjectivity is fully owned. Furthermore, they provide readers with a shift in perceptions, shedding new light on descriptions, parti...</p>]]></description> 
    <dc:creator>Marie Mazzella di Bosco</dc:creator>
    <link>http://journals.openedition.org/anthrovision/10770</link>
    <dc:date>2024-11-27</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/10497">
    <title>Artful Multispecies Ethnography</title>
    <description><![CDATA[
      <p class="resume"><span xml:lang="en" lang="en">We propose to discuss the importance of artistic methods during the three stages of scientific research: data collection, analysis, and dissemination of results. Using examples from our own practice, we show how these methods help us to see, hear and feel better in our fieldwork, how they can amplify and enrich our analyses, and how they allow us to reach a wider audience, including those who have been our informants in the field. Artistic methods sensitize us to non-human subjectivities, take seriously the bodily knowledge of non-humans, and at the same time force us, as researchers, to remain present and to assume a situated and embodied point of view. The text also discusses the circumstances and motivations behind the creation of an international network of researchers concerned with artistic methods in multi-species ethnographies, the MEAM network.</span></p>]]></description> 
    <dc:creator>Andrea Petitt</dc:creator> 
    <dc:creator>Véronique Servais</dc:creator>
    <link>http://journals.openedition.org/anthrovision/10497</link>
    <dc:date>2024-11-27</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/10605">
    <title>Picturing Sensitive Matters</title>
    <description><![CDATA[
      <p class="resume">Within the framework of an anthropology of techniques and material culture focused on the relationship between humans and non-humans in a context of ecological crisis, the objective of this article is to contribute to a discussion on the function of images – animated or static, realistic or imaginary – both as ethnographic tools and as modes of scientific writing and knowledge sharing. This article draws on ethnographic data from the multi-sited PhD research I conducted in Viêt Nam between 2011 and 2018 which focused on urban waste politics, social and environmental lives of plastic waste, and supply chains of globalised plastic recycling. In this authoritarian context, I argue that waste and plastics are sensitive matters that engage politics of representation: between the official ‘good image’ of Viêt Nam and the ethnographic pictures that make these waste matters visible, the researcher has to contend with an ‘elephant in the room’. Through a reflective analysis of different expe...</p>]]></description> 
    <dc:creator>Mikaëla Le Meur</dc:creator>
    <link>http://journals.openedition.org/anthrovision/10605</link>
    <dc:date>2024-11-27</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/10272">
    <title>Ethnographier les expériences somatiques avec la recherche en danse :</title>
    <description><![CDATA[
      <p class="resume"><span xml:lang="fr" lang="fr">Cet article propose une ethnographie des pratiques d’entraînement en </span><em><span xml:lang="fr" lang="fr">qigong </span></em><span xml:lang="fr" lang="fr">(discipline corporelle chinoise)</span><em><span xml:lang="fr" lang="fr"> </span></em><span xml:lang="fr" lang="fr">développées par le professeur et ancien moine-combattant Shi Yanlei. Celles-ci ont été observées à l’occasion d’un camp d’été de deux semaines au Shaolin Temple Europe (Otterberg, Allemagne) où se sont réunis une cinquantaine de participants. Prenant appui sur des outils et concepts issus de la recherche en danse (« partitions », « analyse du mouvement », « état de corps »), les descriptions et analyses de ces pratiques tentent de mettre au jour les enjeux kinesthésiques sous-tendant l’ambition prophylactique de l’enseignement, et révèlent ainsi l’intérêt offert par l’étude du geste dans le cadre d’une anthropologie des techniques du corps et des affects. Contrastant avec l’imaginaire d’une discipline corporelle douce aujourd’hui répandu en Europe, le </span><em><span xml:lang="fr" lang="fr">qigong </span></em><span xml:lang="fr" lang="fr">de Shi Yanlei nous apparaît ainsi peu à peu dans sa filiation avec la méthode dite de « la chemise de fer », caractéris...</span></p>]]></description> 
    <dc:creator>Martin Givors</dc:creator>
    <link>http://journals.openedition.org/anthrovision/10272</link>
    <dc:date>2024-11-27</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/9620">
    <title>Introduction </title>
    <description><![CDATA[
      <p class="resume"><span xml:lang="en" lang="en">In laying the foundation for this special issue, this introductory article serves as a precursor to the essays it comprises. It delves into the dynamic shifts occurring over recent decades within the realm of future-thinking in anthropology. Specifically, it investigates the diverse methodologies employed by visual and multimodal anthropologists, leveraging mediums like film, virtual reality (VR), and other innovative forms of audiovisual storytelling. This exploration extends to the nuanced ways in which researchers engage with the hopes, dreams, and future-making practices of their research participants, while also acknowledging and embracing their own ethical responsibilities in shaping equitable futures. The article posits that multimodal research carves out an exclusive space where these envisioned futures can be not only conceptualized but also concretely manifested and brought to life in the present moment.</span></p>]]></description> 
    <dc:creator>Steffen Köhn</dc:creator> 
    <dc:creator>Anna Lisa Ramella</dc:creator> 
    <dc:creator>Igor Karim</dc:creator>
    <link>http://journals.openedition.org/anthrovision/9620</link>
    <dc:date>2024-07-24</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/anthrovision/9990">
    <title>Change, Transformation, Flow, Metamorphosis, Mutation, Distance</title>
    <description><![CDATA[
      <p class="texte"><span xml:lang="en" lang="en"> </span></p>
      <p class="texte"><span xml:lang="en" lang="en">Walking in the city is being engaged in its flow, fluctuations, and ambiances. It is taking part of an experience both individual, collective, cognitive, and physical which is enhancing our sensations and emotions. This movement binds together the feeling of itself and the feeling of its environment in a pleasant or unpleasant continuum. </span></p>
      <p class="texte"><span xml:lang="en" lang="en">Our lives are this constant weaving of space and time. Cities are places where transformations are particularly regular.</span></p>
      <p class="texte"><span xml:lang="en" lang="en">Gerland (where the video was recorded) is a quarter of Lyon’s city, in France, it has been for a long time the industrial and harbor district. Since two thousand, a reclassification of Gerland is on the go. Most of the warehouses shutdown and the constant need of housing in the city pushed the locality to build new buildings.</span></p>
      <p class="texte"><span xml:lang="en" lang="en">The keyword “distance”, is here used as a pointer of how we are constantly navigating between past, present and future. In the video, inhabitants of Gerland are experiencing their own path through a Virtual Re...</span></p>]]></description> 
    <dc:creator>Hugo Montero</dc:creator>
    <link>http://journals.openedition.org/anthrovision/9990</link>
    <dc:date>2024-07-24</dc:date>
  </item>
</rdf:RDF>