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Epistemology and methodology of urban cultural tourism: the case of the artistic sociology of mobile cultures and tourism communication in urban social networks

Epistemologia e metodologia do turismo cultural urbano: o caso da Sociologia Artística das culturas móveis e da comunicação turística em redes sociais urbanas
Pedro de Andrade
Tradução de Martin Dale
p. 243-269
Este artigo é uma tradução do:
Epistemologia e metodologia do turismo cultural urbano: o caso da Sociologia Artística das culturas móveis e da comunicação turística em redes sociais urbanas [pt]

Resumos

Os debates epistemológicos, teóricos e metodológicos que visam credibilidade científica não podem prescindir da correspondente aplicação ao tecido social. Inversamente, a ação deverá sempre informar a reflexão. Pretende-se neste artigo demonstrar racionalmente e mostrar sensorialmente que um dos géneros sociológicos, a Sociologia Artística, faz transbordar a Sociologia e a sua linguagem científica da academia para atividades de extensão criativas, como a exposição do saber sociológico no espaço público urbano, por exemplo no caso da galeria de arte. Do mesmo modo, o conhecimento e linguagem artísticos deverão contaminar a discussão sociológica através de uma sensibilidade inovadora. Isso é possível por intermédio da inserção, num texto sociológico, não apenas das imagens oriundas de uma exposição de arte, apresentadas enquanto Figuras (1,2…n). Para além disso, a própria exposição de arte poderá ser entendida como uma configuração social e sociológica que faz parte orgânica do próprio corpo do texto sociológico tradicional. Busca-se assim uma hibridação de saberes profunda, que poderá enriquecer, mas também subverter, tanto os debates sociológicos quanto as exposições de arte. Este propósito realiza-se aqui por diversos meios interligados: uma aproximação epistemológica entre a Sociologia Artística e a Hibridologia; a problematização teórica das culturas móveis; o trabalho de campo empírico no quadro da comunicação urbana na Cidade 3.0 e a comunicação turística no contexto do Turismo 3.0; e a exposição ‘New Art Fest’17, como palco da aplicação de abordagens metodológicas sociológicas e artísticas inovadoras. Numa primeira etapa, a Exposição Sociológica sobre Turismo 3.0/Cidade 3.0 demonstrou e mostrou os saberes urbanos e da viagem, no seio do espaço da galeria de arte. Numa segunda fase, este saber testado no público da exposição é reintroduzido num artigo de revista científica. Um tal duplo movimento de pesquisa hibridiza e confronta, em moldes ao mesmo tempo originários e originais, o conhecimento e a prática científicos e artísticos.

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doi: 10.17231/comsoc.33(2018).2916
Submitted: 30.11.2017 – Accepted: 15.03.2018

Texto integral

Introduction: methodologies and sociological innovation

1This article simply aims to present a work in progress in the transversal scientific field of methodology, which hybridises theoretical reflection with practical application of knowledge, procedures and utensils, both classical and experimental. In particular, current methodologies have creolised the nature of modern science with the potential of post-modern resources or those inherent to advanced modernity, such as modes of digital production, since the early 1990s, in the wake of the emergence of new interactive technologies and the Internet. One of these recent research tools is online knowledge, which has been given a new lease of life not just within social media, such as Facebook, but also at the heart of the social and semantic media of the Web 3.0 or the Semantic Web. Websites and other Web 3.0 resources stand out because they focus on the production and sharing of knowledge and not just information, as Gilbert Paquette comments: “How can we make the Web more useful, more intelligent and more knowledge intensive to fulfil our demanding learning and working needs?” (Paquette, 2010, p. xiii).

2This paper looks at some of the means and methods of producing and disseminating scientific knowledge. In particular, epistemological and theoretical thought is applied to scientific landscapes and arenas dealing with hybrid and transcultural processes. Some of the characteristics of these more recent forms of mixed knowledge (although not their only ones, of course) are their global and interactive nature, which introduces new problems associated with the epistemological, theoretical, analytical and empirical axes inherent to scientific work and research.

3There are multiple consequences of this contemporary social context. One is the emergence of innovative methodologies, amidst the various modes and means of knowledge, as Patricia Leavy warns (2009, p. 18), in converging sociological research with artistic practice: “working with innovative methodologies often requires researchers to cross disciplinary boundaries, leave their comfort zones…”

4It should be noted that, from an epistemological point of view, “method” and “methodology” are distinct concepts. A methodology is a kind of grammar of methods and techniques, or other procedural activities for performing specific tasks, in processes that seek out one or more objectives of knowledge or wisdom. In other words, a methodology is a problematisation grid that includes, amongst other things, a set of wideranging epistemological and theoretical reflections on the practical modes of developing specific fields of study or types of knowledge. In other words, epistemological discussion of methodologies is not reduced to the difference between methods and techniques, neither is it confined to the dissimilarity between methodologies and methodological approaches. Nor is it limited to any other reductionist dichotomy. It is more intensely complex and involves highly varied strategies and tactics of practising science. Summarising some of these strategies and tactics, amongst other traits, methodology is based on logic or dialectics, whereas the methodological approach is shown to be procedural. The method is revealed as a regulatory activity, whereas the technique is affirmed as a form of instrumental action.

5Furthermore, it is necessary to discern between the ideas and concepts of “creation”, “invention” and “innovation”. The former term has been used more frequently in art and literature, above all in Romanticism. “Invention” in turn is often associated with the scientific and technical discourse of modernism, which at times is blurred, somewhat unsatisfactorily, with pure or fundamental research. And “innovation” primarily signifies the application, in economic activities and the social fabric, of creation and invention linked to new technologies, increasingly in the context of new digital media.

6In this paper, then, the concept of “innovation” is used in terms of the application of creativity and inventiveness by social scientists to the economic, social, political and cultural fields of contemporary society. As we shall see later, the aim is to deconstruct, but not fully replace, current epistemological and methodological positions that subscribe to a certain uncritical or even acritical attitude to inherited or acquired sociological methods and techniques.

7In this order of ideas, it is important to revisit, albeit briefly, the theoretical and methodological equation that articulates chaos, causes and cases.

8Confronted by the chaos that emerges on a daily basis in the heart of the social fabric, modern science has sought, above all since the 16th century, to domesticate it by applying a rational discourse and language which, amongst other explanatory procedures, has privileged research into the causes of social phenomena, linked to their effects. Besides this causalist thought and practice, modern rationalism has used case-study reflection and fieldwork that has sought to overcome the weak points of causalist thought via a more empirical and delimited approach. Recently, the post-modern or advanced modernist perspective has included theories such as “chaos theory” and methodologies which attempt to decode the very chaos underlying nature, humankind and culture itself, entities where the hybridisation process is not the exception but the rule, or one of the regularities, challenging some of our certainties about the very nature of science itself (Gleik, 2008).

9Today, scientists in general, and social scientists in particular, increasingly analyse and apply hybrid methods, i.e., those which mix, synthesise or creolise various, different and even opposing entities and procedures. For example, in the field of research, the rational is mixed with the sensitive, the quantitative is contaminated by the qualitative, and “manual” procedures profitably use digital technologies, etc.

10These and other moments of disquiet within contemporary epistemology and methodology seem to prove that no methodology is eternal by scientific decree, and no manual can dictate what is natural, normal and legitimate within the context of scientific work. By contrast, today there are simultaneously critical and dialogical methodologies that seek to find meeting and re-meeting points between the modes and fashions of producing, interpreting and disseminating scientific knowledge. These are illustrations of this social, and also sociological, process.

11As far as quantitative methods are concerned, for example, we are witnessing “turbulent times for survey methodology” via questionnaires, at a time when mixed methods are commonplace (Dillman, 2009, p. 9):

the development and generalised implementation of these communication technologies in recent years has meant that researchers conducting surveys have had to take extra measures to distinguish their questionnaire surveys from the countless other contacts (by post, phone, email, text message, etc.) which we each receive every day. In addition, the coupling of surveys with technological devices requires researchers to provide additional thoughts on how different populations interact with new technologies.

12With regard to qualitative methods, netnography is a method that includes a set of relevant sociological and ethnographic techniques for cultural studies, e.g. for analysing and interpreting the interaction of members of online communities. For example, as Robert Kozinets (2012, pp. 68, 72) stresses, the nature of digital research has four key features: altered interaction, anonymity, accessibility, and archiving.

it is no wonder, then, that content analysis techniques are enjoying a renaissance in their application to the analysis of online conversations. The instant archiving of social communications present in the Internet makes this a very different context for doing ethnographic research than the context of face-to-face interaction. (Kozinets, 2012, p. 72)

13As regards certain innovative methodologies in the sense explained above, i.e. understood in terms of grids or the questioning of the use of original methods or techniques, the radical design of games is symptomatic, as advocated by Mary Flanagan, amongst other authors: “whether it is their ability to stimulate participation in an Internet-connected age or their role as a platform for entertainment, intervention, authorship and subversion, computer video games – indeed all games – are highly relevant to the twenty-first-century imagination” (Flanagan, 2009, p. 251) .

14One also notes that the methodology does not merely limit but is also influenced and reconstructed by the very nature of each study-object. Without providing definitive answers, this paper analyses the slippery slope of mobile cultures, in particular tourism cultures that operate via urban or digital social networks that should also be studied using mobile methods. In other words, we will not examine an abstract and unique methodology purely intended for academic purposes. Instead we shall talk about confronting this methodology, via extension activities in places beyond the academic world, in mobile or socially shifting terrains.

15In fact, as Luc Pauwels (2006, p. 120) remarks, the representation of mobile cultures can be based on the expression, multivocality and reflexivity propagated for example by filming conducted in the framework of sociological and anthropological research, in particular that using digital technologies: “thus current digital media technology allows the further expansion of the discursive potential of film and transforms it into an even more hybrid product with more possibilities and challenges.”

16To illustrate these epistemological and methodological, critical and dialogical stances, we shall present here a hybrid method, known as Sociological Exhibition, shown at New Art Fest’17, a cultural event that ran from 1-30 November 2017 in the Sala do Picadeiro of the National Natural History and Science Museum in Lisbon. As we shall see below, this is a method that aims to creolise sociological knowledge with other social languages and contexts, such as artistic and literary activities. Concretely, using this hybrid method, three techniques were developed for conducting sociology in an art gallery, in close dialogue with its visitors. These techniques used a supposed scientific rationale, in connection with the alleged sensibility of the arts. In truth, both modes of knowledge use reason and sensation to a greater or lesser degree. The author also made use of more traditional sociological procedures, such as direct observation and interviews with visitors to this art institution, recorded on videos that will be subsequently transcribed, analysed and interpreted.

17In short, this paper is not limited to one method or one technique. As we shall see below, artistic sociology is (essentially, if not only) an epistemological and methodological attitude; the aforementioned Sociological Exhibition is more properly a method, which in turn incorporates three techniques: sociological comics, a virtual visual survey and the virtual sociological gallery.

18Finally, what one understands as stages in this process are actually something else. As referred to in the Abstract, these stages are, generally, three in number: 1) the planning of the project at the university or research centre; 2) the presentation of research instruments and interaction with the visitors to the art gallery; 3) the later inclusion of (partial) results in a sociological scientific review. Only in this manner can the research process always be a work in progress, and is never definitively established. Open complicity between the university and the extension activities occurs in this manner, in terms of a cycle of hybridisation that includes at least two types of miscegenation. Firstly, a socioscientific hybridisation occurs between the academic sociological context and the social context of the art gallery, as well as within the reverse socio-scientific journey. Secondly, a rational-sensitive hybridisation takes place between sociological knowledge and artistic knowledge and flavours.

Artistic Sociology and hybridology

19Science as a whole, and the social sciences in particular, have witnessed numerous epistemological and methodological battles, for example regarding boundaries and points of contact. After all, transversalities and intersections are commonplace in the intricate web that joins the various scientific branches and communities of the social sciences.

20To help, albeit incompletely, in the clarification of this state of affairs, we will discuss below only the fields of knowledge that we refer to in this article: visual sociology and the neighbouring terrain of artistic sociology.

21As far as visual sociology is concerned, it chiefly includes study objects and methods which refer both to the visual referential reality and the subjectivities, rationalities and sensibilities of the social agents, with regard to the visual processes they observe or produce. Douglas Harper (2012), one of the founding fathers of this field, charts its essential outlines, from theoretical aspects (reflective and narrative perspectives, phenomenology, ethnomethodology, semiology) to activated empirical techniques (visual ethnography, incorporated observation, photo-documentary, photo-elicitation and photo voice, multimedia). Luc Pauwels’ latest book (2017) updates the subject’s theoretical and methodological position, including new types of analysis for images and multimodal processes, ethical reflection and the production and communication of educational content, while also providing a range of case studies. Gillian Rose (2016), an authority on the methodology of visual sociology, published an updated fourth edition of her book which besides covering the same themes of earlier editions, such as archive photography, documentary, audiences and ethical issues, examines new research areas, such as data analysis and past cyberspace research on websites and digital social networks.

22Amongst the first Portuguese studies on urban visual culture from a sociological perspective rather than that of art criticism, the following stand out: interpretation of the style and content of the art of the Grupos Excursionistas e Jantaristas [Excursionist and Dining Groups] which are associations that promote an original genre of culture and popular tourism in urban taverns (Andrade, 1979, 1986, 1988, 1991); reflection on the works of the visual artist Alvarez, which often feature urban themes (Andrade, 1987). A qualitative step was subsequently taken through the problematisation and state of art of visual sociology, at the international level and the sociological situation in Portugal, from the perspective of a sociology of social visibilities and a sociology of the gaze (Andrade, 1995, 1997a, 1997b).

23Other relevant studies on urban cultures, at times targeting their visual aspects, include analyses of folk festivals in the North of Portugal (Pinto, Ribeiro & Durand, 2016), or the transformation of local cultures in this zone during the industrialisation period (Araújo, Cunha & Ribeiro, 2015). From this perspective of mobile processes in contemporary society, Sales (2015) discusses the case of online access. This digital city context must be revisited in terms of the creativity of users and citizens (Zagalo & Branco, 2015).

24Artistic sociology, in turn, cannot be confused with visual sociology insofar as it is concerned with the arts in general and not just those that are conveyed visually. Furthermore, artistic sociology is not the same thing as the sociology of art. The latter uses art as a theme and employs scientific methodology, similar or dissimilar to other areas of sociology. Unusually, artistic sociology firstly uses artistic methods to understand social problems, albeit confronting them asynchronously or synchronously with information gathering instruments and sociological analysis. However, even if it applies artistic methods and techniques, artistic sociology is different from sociological art. This art movement was essentially founded by Hervé Fisher (1977), Fred Forest (1977) and JeanPaul Thénot (2012) in 1974, even though the name existed since 1968. Sociological art aimed to intervene critically on art and society, and also to question sociological theories and methods. It was chiefly critical of power and the mass media, using participation, provocation, simulacrum and irony.

25In sum, artistic sociology, albeit separate, is linked to and hybridised with visual and art sociology, and also with sociological art, but in a contemporary society that is increasingly an incommensurable urban and digital network, and one that is above all founded on, and cast in, a hybrid form. Artistic sociology, after all, is understood as a hybrid knowledge that explores current hybrid reality and society. All of these hybrid fields of knowledge taken together are known as “hybridology” (Andrade, 2014; 2015).

26For this desideratum, artistic sociology uses, amongst other instruments, the artistic hybridisation method. By mixing art techniques and genres, this method aims to describe, narrate, interpret, comprehend and explain the plural and profound nature of society, including cultural and artistic phenomena. Besides these hybrid artistic technologies, artistic sociology makes use of theories, concepts, methods and instruments of hybrid sociological reflection, for example hybrid concepts, creole terms that belong to different arts and cultures, central or peripheral, global or local. Mikhail Bakhtin (1983), in his literary criticism of works from diverse cultural origins in The dialogic imagination, uses the hybrid concept/method he names “chronotope” to express the complexity of the connection between time (cronos) and social spaces (topos), operated by disparate and at times antagonistic cultures or by polysemic literary genres. After all, where do culture and art end, and reflection on them begin?

27Hybridology in general, and artistic sociology in particular, can be applied to multiple hybrid sociological study objects, of which the following are examples: the question of mobile cultures and the debate on tourism communication on urban and digital social networks.

Mobile cultures

28In 1989, John Urry published a seminal work entitled The tourist gaze. In September 2011, the 3rd edition co-written with Jonas Larsen, entitled The tourist gaze 3.0, in the words of the authors, featured new analyses of photography and digitisation. This essay on the tourist gaze has influenced myriad studies on mobile cultures and urban and tourism mobilities, concepts also identified by John Urry (2007, 2011) in various other books he wrote, often in collaboration with Mimi Sheller (2004, 2006).

29Mobile culture is an emerging paradigm in current mobile societies, where processes, capitals, actors and things, and the nature of culture, are in continuous movement and transformation. Mobile culture is a recent means of enjoying and knowing cultural heritage, linked to the mobilities and discourses on the urban. Today, in the public space of streets, museums and galleries, citizens, tourists and various social marginalities operate multimodal strategies of urban cultural communication, often based on digital media like mobile phones, aimed at knowing and enjoying tangible heritage (monuments, artworks, cinema/video) and intangible heritage (music, cultural e-heritage). In other words, we are seeing the emergence of a mobile cyberspace and cybertime. Cybertime is the set of social temporalities (or courses) operated by the user of social spatialities (trajectories) on the public cyberspace of the Internet, resident on servers or mobilised by mobile devices.

30Returning to the distinction made in the introduction between methodology and methods, an interesting discussion exists today on sociocultural mobilities and their sociological interpretation. On the one hand, concerning those mobile cultures underlying cultural and artistic tourism (Hanna, 2015; Kaminski, 2014). On the other, as regards the mobilities relating to the processes and instruments of research, especially in relation to research that uses mobile digital devices and which at times found a mobile scientific culture.

31Epistemology, theory and innovative methodologies were debated within the fields of these urban and digital mobilities. In fact, Colin Hall (2005) drew attention to the need to reconsider the epistemological foundations of the sociology of mobilities. The researcher can be seen as a scientific traveller between different social contexts besides the academic world (Slocum, 2015). In this view, research strategies in themselves, and qualitative methodology in particular, have undergone irreversible transformations, such as unprecedented interlinking between more classical epistemologies and methodologies, on the one hand, and so-called ontologies, on the other, in recent essays in the social and human sciences. Ontologies are nothing more than sets of concepts linked by specific relationships, representing logical and dialectical propositions that delimit a given area of knowledge, in particular by means of digital resources and instruments.

32In particular, the relationship between travel and innovation has been seen as key in the social sciences (Hall, 2008). The very epistemological status of urban and digital travel and mobilities is called into question by the innovative concept of slow travel, a form of mobility that aims to understand, deeply and at a more meditative pace, the identities and differences between the world’s peoples and cultures, at both a global and local level (Fullagar, 2012).

33Other important writers and books who have analysed this issue include Bruno Latour et al who laid the groundwork for the actor-network theory. This is a reflexive theory closely connected to the modus operandi. It was first applied to academic or experimental empirical areas such as the scientific laboratory, but it was also used to understand social relations in wider reticular contexts, for example within digital social networks. The theory was also linked to the question of mobile cultures, especially tourism (Duim, 2012). The mobility behaviour and corresponding psychology of tourists is also related to the respective sustainability of urban policies (Cohen, 2014). Other innovative methods include mobile methods, such as where the researcher uses a laptop or mobile phone (Buscher, 2011), or visual research methods, in the case of tourism (Rakic, 2012).

34Finally, with regard to empirical fieldwork, one cannot overemphasise that we are immersed in a mobile world, both as social agents and researchers, as Jennie Molz (2014) stresses. Our daily lives as citizens, tourists or any another condition and state of mobility are mobile (Elliot & Urry, 2010). In fact, on our planet, there are myriad forms of mobility, such as the intercultural sharing perpetrated by tourists (Barker, 2014), but also the dramatic diasporas of immigrants, re-localisations that require new and innovative policies of place (Verstrate, 2009). In this context of accelerated change, if the social scientist wants to follow the trail of other social agents rigorously, they will also have to apply the so-called mobile city technologies in their research (Scheller & Urry, 2006). Under these circumstances, the very nature of scientific fieldwork starts to metamorphosise (Hall, 2011).

35Moreover, the “mobile cultures” concept is rooted in research on urban cultures and tourism begun in 1979-80 by the author of this paper. This research was disseminated and published, on the one hand, in books on the mass tourism of the Grupos Excursionistas e Almoçaristas/Jantaristas (Andrade, 1981, 1986). On the other hand, the research produced the concepts of “inter-travel” (a hybridisation of various types of travel: tourism, professional, political, religious, etc.); “critical tourism” (an anti-mass tourism attitude by tourists) and “counter-tourism” (the vision of an alternative world to that of local folk cultures by the native residents of societies visited by tourists).

36These and other results were synthesised in the proposed creation, by the author of this paper, of a sociological genre called semantic-logical sociology(Andrade, 2011a, 2011b). This interpretative paradigm of society, amongst other pedestals, is forged in the tsunami of knowledge mobilised by new media, cyberspace technologies and mobile devices. In fact, sociology is undergoing a revolution at the epistemological, theoretical and methodological levels, based on the urban networks of the global metropolis connected to the social and semantic networks underlying the Social Web or Web 2.0 (Facebook, Twitter, Instagram, What’s App) and the Social-Semantic Web or Web 3.0 (Freebase, Google, Wikipedia). For this desideratum, sociologists can use the GeoNeologic method, which consists of analysing and interpreting social processes in three dimensions: space (hence the prefix “geo”’); time, above all the rhythms of innovation (“neo”); and logos, a concept signifying the language of reason, or the reason of language, heard, spoken or written by social subjects. This trichotomy is inspired by the concept of deixis from Greek philosophy but applied to the social arena.

37This analysis was recently perfected in an essay on “cultural e-tourism”, i.e. tourism that takes place in urban, cultural and digital networks. Citizens, tourists and immigrants represent and present their own work, leisure and knowledge travels via the discourse produced and reproduced by their own journeys, mobilities and the respective descriptions, narratives and opinions, within the fabric of the city and on “cultural e-heritage” networks (Andrade, 2017).

38Today, mobile phones offers apps that include augmented reality for profiles of consumers such as young people, tourists and social marginalities: i.e. they present real locations in images, video or 3D, and information about them in real time. This trend inaugurates an augmented urban and tourism culture where the reality of leisure time is boosted by the link between entertainment shows, relevant information about places visited and cultural events. The cities of Braga (in Portugal) and the Northeast have kept abreast of these smart development strategies for mobile culture, such as Braga’s connection with the Unesco Creative City Network and Smart City. Additionally, within the framework of risk societies, a term suggested by Ulrick Beck (1992), it is important to reflect on risks such as the fetishism of digital urban culture and the reification of the tourism market; or their potential, for example more intense inter/transcultural exchange in cities and better knowledge of the societies that tourists visit.

A strategy for studying mobile urban and tourism communication

39Urban visibility or invisibility are communicative processes that occur at the contextual level of the mediated city. This intermediation interlinks two levels of society. On the one hand, the visions of the world that circulate within the city, according to the social structures of the urban agents, such as age, gender, social class, ethnicity, educational level, etc.. On the other hand, the microscopic social visualities inherent to daily life (Andrade, 1995, 1997a, 1997b).

  • 1 The “Mobile Culture and Tourism Communication” project brings together a team coordinated by the au (...)

40This question of the urban (in)visible is of special relevance within the framework of urban mobilities, and particularly mobile urban and tourism communication, for example in the case of cultural tourists visiting certain urban locations, such as museums and art galleries, with specific underlying modes of communication. The “Mobile Culture and Tourism Communication” project has been trying to extend this process since February 20171.

41The metropolitan (in)visibilities shared by the Mobile Culture project and the advertising of some of the activities at the NewArtFest’17 Exhibition, examined below, whether of a citizen, tourism or migrant nature, is based on an intervention that is not just theoretical but also practical and participatory on the urban fabric. This collective action is known as artistic sociology and avant-garde virtual digital arts, but it also operates as a vehicle for sharing cultural experiences in today’s intercultural and transcultural world.

Artistic sociology and the hybrid monument

42A hybrid monument is a building which fuses various monuments to celebrate a cultural heritage that is both separate yet common. It can help citizens, tourists and immigrants to understand local or global cultural heritage within a transcultural strategy. Transcultural means the transformation of culture into knowledge, particularly in the contexts of City 3.0 and Tourism 3.0, ideas discussed in the following section of this paper.

43The Tower of Belém in Lisbon and the Eiffel Tower in Paris are two notable urban cultural and tourism icons. By hybridising them, they become an exciting example of a hybrid monument (Figure 1).

Figure 1: A hybrid monument

Figure 1: A hybrid monument

44In fact, they are not exactly twin towers, but they are testimony to a common process of cultural inheritance. The Tower of Belém is a metaphor for a ship, a celebration of the Portuguese voyages of discovery in the 16th century that Immanuel Wallerstein (2011) suggests began the process of globalisation. The Eiffel Tower is the symbol of another period of globalisation, the 19th century industrial revolution. However, the hybridisation of these two different, yet very similar, towers tells us that we must differentiate and connect all the cultures of the world dialogically, democratically and equally.

45After all, hybridology is also defined as the study of the entities of an intercultural and transcultural world. In fact, hybridology uses hybrimedia, i.e. a medium that transforms original media (those at the start of a given process), such as the building medium (exemplified here by the Tower of Belém and the Eiffel Tower), into original or innovative media (a hybrid building medium, illustrated here by the hybrid monument).

Tourism 3.0 and City 3.0

46Various theoretical positions suggest what actually constitutes the phenomena of Tourism 3.0 allied to the context of City 3.0.

47Greg Richards (2011) defines Tourism 3.0 according to these attributes: the greater interest by tourists in intangible heritage; the overcoming of the dichotomy between high and popular culture, witnessed for example by tourists’ interest in the street; the hybridisation between cultural production and consumption; and the desire for authentic experiences. This author relates Tourism 3.0 to so-called Culture 3.0 (Sacco, 2011), with which it shares characteristics. Besides seeing culture as a product derived from the 18th and 20th-century industrial economy (Culture 1.0), or the idea of culture as a cultural industry in the 20th century (Culture 2.0), the notion of Culture 3.0, associated with the new digital technologies, means that culture is a means of creating identity and values, stimulating social cohesion and incentivising creativity. John Urry himself, as mentioned earlier, updated the 2009 edition of the classic The Tourist Gaze to The Tourist Gaze 3.0 in 2011.

48However, in my opinion, to define Tourism 3.0 and City 3.0, these positions do not take various complex phenomena inherent to urban social networks sufficiently into consideration, such as those underlying the digital social networks characteristic of Web 2.0 and Web 3.0 (Andrade, 2011b), notions that we shall clarify below.

49Firstly, the tourist, when visiting any destination, not only gathers information about the place visited, but also knowledge and flavours that are characteristic of them (Andrade, 1992). In fact, any location is founded on and fused with local social networks, inside their physical and geographical space and time. One example is the Portuguese tavern. In this space and time, local flavours (food, drink, etc.) are enjoyed alongside local knowledge (habits, values, traditions, innovations, etc.). These urban social networks include everyday and collective people, objects, spaces and time.

50Secondly, mass tourism is today supported via digital social networks, a new paradigm in relation to pre-modern and locative social networks, which have recently been transformed into global social networks.

51These digital social networks are not just organised in cyberspace but also in cybertime. It should be remembered that this concept means the number of steps taken in the networks of virtual public space, and occurred through certain tempos in digital public time.

52In the 1990s, internet users could read information but almost could not write it, their participation being somewhat limited. This communication model is called Web 1.0.

53Since the 2000s, Internet explorers have been able to read and write more in-depth and current information, in more participatory ways. This was the origin of Web 2.0 or the Social Web (Facebook, Twitter, Instagram, etc.), whereby citizens and tourists have been using mobile devices extensively and intensively for several years.

54In the 2010s, Web 3.0 or the social semantic web emerged, whereby on websites, blogs, wikis and Web 3.0 networks opinions and interpretations on the information in circulation are shared, to a greater extent than on Web 2.0. In other words, besides the social network, Web 3.0 is a semantic network, insofar as it offers meanings on the actions and words spoken by its users in reticular connection. Some pioneering examples are Wikipedia and wikis in general, and the Freebase project, recently taken over by Google.

55At first, residents and tourists, and even immigrants and other social marginalities, discover that society is a SO(C)ITY, i.e. a social city. This social city means that the urban space can be enjoyed through art and reflection on the daily life of its inhabitants and visitors. This enjoyment of urban leisure space and time by local and global citizens today is often conducted through mobile devices like the mobile phone.

56These mobile devices are veritable pocket computers that provide more than just information. Secondly, they also allow incommensurable knowledge about the societies and cultures visited, as well as about their visitors, to be shared.

57In other words, the city becomes a City 3.0 or social semantic city, i.e. that globalised place whose ultimate current meaning is as follows: a geographical urban network which uses the digital, social and also semantic networks characteristic of Web 3.0, particularly in the activities of Tourism 3.0.

Artistic sociology: an innovative epistemological and methodological configuration?

58Next, we will try to apply the previous considerations to the extension activities included in the aforementioned “Mobile Culture and Tourism Communication” project by using various sociological approaches, digital technologies and artistic strategies. The sociological content referred to below, and included in Appendix 1 to 4, was shown at the NewArtFest’17 digital art event in the hybrid form of the methodology circumscribed above as artistic sociology in the “Artistic Sociology and Hybridology” section. We must remember that a methodology can be partly perceived as a problematisation grid or a grammar of methods and techniques. As we shall see, this methodology circumscribes the Sociological Exhibition method, which in turns includes three techniques: sociological comics; the virtual visual survey; and the virtual sociological gallery.

59These ideas are shown briefly in Appendix 2, 3 and 4, and in two simple pedagogical forms intended for students, teachers and researchers, amongst other audiences. On the one hand, the descriptive sheets of each work art, besides having been used to organize the NewArtFest’17 event, allow the succinct definition of social and sociological content, and show empirically how you draft a technical descriptive sheet for the purposes of managing or enlivening exhibitions, for extensive activities in museums, art galleries or other urban public spaces. On the other, the illustrations supply a more iconic perspective of the rationalities and sensibilities involved both in the citizen’s experience of urban and tourism cultures and the sociologist’s interpretation and explanation of them.

60In terms of the empirical field and fieldwork conducted within the framework of artistic sociology, it may be here that some innovation may be credited to this paper. On the one hand, original techniques are used, such as sociological comics and new technologies such as augmented reality in the virtual visual sociological gallery technique. These are attempts to open up sociological writing up to new media and argumentative resources that are more active and seductive for expressing and developing scientific, technological and artistic literacy by the researcher and teacher.

61On the other hand, the aim is to raise awareness amongst citizens, tourists and urban marginalities of the need to use sociology as a means and a medium to understand their daily life, and thus transform them into research audiences. In this aspect, it is key to extend and understand the practices and opinions of these audiences with regard to the presentation and exposure of sociological material in unusual fields, such as museums and art galleries, or other public places, e.g. the street and urban walls, which also function as palimpsests of academic knowledge, but in close and sound dialogue with common knowledge. Perhaps it will thereby be possible to contribute to analysing social and sociological issues in a more interesting and participatory manner, test hypotheses in a broader and more convincing fashion, and disseminate ongoing research to a wider audience beyond the academic world.

The Sociological Exhibition method

62Using the Sociological Exhibition method, various audience profiles were filmed by the sociologist, which commented, discussed, appreciated or criticised content, objects of study and sociological methods in an environment beyond the university while exposed to visual arts, as if they were art objects. This device, simultaneously discursive and counter-discursive, calls into question not just some traditional pedagogical methods, such as the mere use of Powerpoint presentations in class, but also research methodology and the art exhibition itself. In these pedagogical and plural research domains, these processes should be more deeply hybridised, as in other alternative spaces and times.

The sociological comic technique

63This technique attempts, by means of a story, to express: (a) the knowledge implemented by institutions located in the communicative, democratic and digital contemporary city, such as academia; (b) and, on the other hand, the knowledge produced by urban digital citizens. And it does so by using the particular method of comics. However, social issues are not only understood and used as a substantive theme to propel this “sociological story”. They are also immersed in the very mode of representing and presenting real or imaginary worlds. For example, social problems may not just be narrated but also analysed by means of a sociological search that uses visual and textual arguments inside comic book panels (see Technical Sheet 1 and Figures 4 to 10).

The virtual-visual survey technique

64The second technique used by artistic sociology aims to overcome some of the disadvantages of the sociological survey, such as the somewhat routine and scarcely motivating traditional questionnaire, in the way it is directly and indirectly conducted. For that reason, a virtual-visual survey on 2D animated video was developed that included a central question on the economic, political and cultural situation of our global/local and transcultural network societies (see Technical Sheet 2 and Figures 12 to 19)

The virtual sociological gallery technique

65Finally, the third technique applies recent digital technologies to sociological research. Edmund Husserl (1975) limits the phenomenological process to three key stages: perception, consciousness and knowledge of reality. With regard to knowledge, in the framework of a genealogy of logic, it analyses the pre-predicative experience, the structure of predicative thought and the origin of conceptual thought. Alfred Schultz (1967) adapts Husserl’s phenomenology to social reality, establishing the grounds and pedestals of the action of the participatory citizen in the worlds of everyday life (lebenwelt).

66In the case of the virtual sociological gallery, hybrid reality consists of a mode of experience, consciousness and unprecedented knowledge of urban cultural reality. In fact, virtual sociological gallery hybridises the real reality of exhibition visitors, to its interpretative modes and logic mobilised by the social scientist, for example virtual reality (immersion in 3D virtual world) and augmented reality (experience of a an 3D virtual world with added textual, statistical, geographical and other information in real time). The epistemological and methodological consequences for education and innovative sociological research are decisive.

67For example, it is possible to enliven a class on cultural heritage and tourism by presenting sources and debates using mobile devices and augmented reality apps. Or by using hardware and software to compile, analyse, interpret and disseminate content in research projects, not just in an academic context, but also in urban places of culture where the citizen and tourist share their daily itineraries, amidst an intercultural and hybrid dialogue (see Appendix 4, Technical Sheet 3 and Figures 20 to 23).

Conclusion

68By way of a final conclusion, let us return to some of the questions raised in this paper, in order to propose suggestions for an urgent discussion and debate.

69In terms of the results, which are always provisional in a mobile field such as the one that we propose to address herein, and with regard to the sense of epistemological disquiet mentioned in the Introduction, it seems to us that Hybridology (i.e. the study of hybrid entities by means of hybrid knowledge), will become one of the most pressing arenas of discussion over coming years. For example, this will apply to some of the problems in the field of inter-culturalism and trans-culturalism, such as the media discourse on social agents who are perceived to be “hybrid”, whether returnees, immigrants or refugees (Marinho, 2015). At the level of theoretical reflection in the sociological field, the concepts of “mobile culture” and “urban and tourist communication” will probably be viewed as two cornerstones of Communication and New Media Sociologies. At the level of methodologies, the Sociology of Art, as outlined above, will establish one of the possible and probable cross-breeding grounds between rational knowledge and sensible wisdom.

70With regard to the pitfalls and limitations of research, this journey towards knowledge will certainly entail uncertainties. However, sociological writing involves inherent social, professional, epistemological and sociological risks.

71In relation to improvements that it may be possible to attain in the future, such a strategy will only be possible through dialogue and sharing of at least three modes of knowledge: scientific knowledge; the professional knowledge of mediating institutions, such as the museum; and the common or ordinary knowledge of a new research audience that will gradually emerge in urban and digital social networks, including the following social agents: from the outset citizens and tourists, and also the various marginal social groups including, among others: pensioners, persons with disabilities, immigrants, and ethnic, political, religious and gender-based minorities.

72Finally, as far as future steps are concerned, all writers and readers of the Social and Human Sciences, knowledgeable people and research audiences must participate in this, and other necessary, collective debates, where the difficulties and successes, innovations and repetitions, are intertwined in hitherto unseen solidarity-based social, scientific, technological and artistic networks that aim to produce, interpret and disseminate hybrid knowledge, without any definite certainties. Ultimately we’re all, to a greater or lesser extent, citizens, tourists and immigrants of the scientific, technological and artistic knowledge, who aim to be critical, and at some scale, however small, also be innovators.

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Anexo

   

Appendix 1: The exhibition New Art Fest’17, as an empirical field for the presentation of sociological methodologies developed in the Mobile Culture and Tourism Communication Project (examples of dissemination of the event and direct observation of the inauguration of the exhibition)

In October and November 2017, in Lisbon, the first actions of the project “Mobile Culture and Tourism Communication” were co-organized, in addition to the previous planning work that had been conducted in Braga. The intention was twofold: on the one hand, to communicate to Portuguese citizens and visitors to the city of Lisbon (tourists, immigrants, etc.) a preview of the city, i.e. to visualise it before they look at the plurality of daily life in Lisbon and other cultural events); and also to disseminate a post-vision, i.e. a visual look after viewing the city in situ.

Figure 2: Programme and participating authors in the cultural event NewArtFest’17 (extract)

Figure 2: Programme and participating authors in the cultural event NewArtFest’17 (extract)

The Mobile Culture project has exchanged several core themes with the event, revolving around the latest tourism and urban phenomena.

The website’s mission statement said that the two main ‘flavours’ of the event are the social-semantic city (founded on urban and digital, social and semantic networks) and the ‘GeoNeoLogical city’, i.e. time and logos, a trichotomy which, as has been pointed out above, is based on the Greek word, deixis.

Figure 3: Audience viewing the works of the Sociological Exhibition and Virtual Sociological Gallery (top) and Virtual Survey (centre). Below, the author is talking with the curators of the Natural History and Science Museum, the event’s venue

Figure 3: Audience viewing the works of the Sociological Exhibition and Virtual Sociological Gallery (top) and Virtual Survey (centre). Below, the author is talking with the curators of the Natural History and Science Museum, the event’s venue

Appendix 2: The method of the Sociological Exhibition applied to Tourism 3.0 / City 3.0 and the sociological comic strip technique

Technical sheet 1:

  • Title of the work: Sociological Exhibition on Tourism 3.0 / City 3.0: Mobile Art, from Artists to Tourists and Citizens

  • Year: 2017

  • Technique / Medium: Sociological Comic Strip, based on an assembly of photographs.

  • Format: 2D

  • Dimension: 1,5x1m.

Synopsis: this work of art is understood as a sociological exhibition about Tourism 3.0 in City 3.0. In particular, it clarifies the meaning of mobile art, in the context of contemporary social and semantic networks, activated by citizens and tourists. This art proposal constitutes a paratext, in the words of Gerard Genette. In other words, it is a set of contents that works as a business card or aperitif, for the presentation of other content, such as those included in other works of art by the same artist, for example the

Virtual Survey and Virtual Sociological Gallery on City 3.0 / Tourism 3.0

Equipment needed for assembly and / or exhibition: assembly by the company X;

Specific requirements for assembly, transportation or other: transport by the company X;

Figure 4: Sociological exhibition

Figure 4: Sociological exhibition

Figure 5: Tourism 3.0

Figure 5: Tourism 3.0

Figure 6: Mass tourism

Figure 6: Mass tourism

Figure 7: The three ages of the internet: Web 1.0, Web 2.0 and Web 3.0

Figure 7: The three ages of the internet: Web 1.0, Web 2.0 and Web 3.0

Figure 8: Society is a So(City)

Figure 8: Society is a So(City)

Figure 9: Mobile devices

Figure 9: Mobile devices

Figure 10. City 3.0, a socialsemantic network

Figure 10. City 3.0, a socialsemantic network

Figure 11: Hybrid Reality in the event NewArtFest’177

Figure 11: Hybrid Reality in the event NewArtFest’177

Appendix 3: the visual-virtual survey technique on City 3.0 / Tourism 3.0

Technical sheet 2:

  • Title of the work: Visual-virtual survey on City 3.0 / Tourism 3.0

  • Year: 2017

  • Technique/Medium: Video

  • Format: 2D

  • Dimension: N.A.

Synopsis: The city and tourism 3.0 (or ‘social-semantics’) are based on a network of social meanings and singular semantic interpretations about the public space of daily life. This network is developed by the multiple agents who intervene in the urban fabric (local residents, tourists, immigrants, etc.). It is a ‘geo-neo-logical’ process. In other words, it takes place in a specific territory (hence the prefix ‘geo’), in a period of continuous innovation (at a ‘neo’ rhythm), and implies different languages mobilized by urban actors. ‘Logos’ means the language or reason produced by social subjects.

A central question is posed to well-known politicians: what is the main transformation that affects contemporary cities and related phenomena, such as tourism and immigration?

Equipment needed for assembly and / or exhibition: video screen Specific requirements for assembly, transportation or other: N.A.

Figure 12. Brexit City

Figure 12. Brexit City

Text of the soundtrack and subtitles of the video: European countries need the United Kingdom more than the inverse, for city mobilities too. In truth, Europe should pay compensations for not letting Britain abandon Europe to its mobile destiny

Figure 13. Urban Paradise

Figure 13. Urban Paradise

Text of the soundtrack and subtitles of the video: Mobile Europe must implement austerity for South European citizens, and neo-liberal mobility for immigrants

Figure 14. Nation Ville

Figure 14. Nation Ville

Text of the soundtrack and subtitles of the video: French cities are the best tourism and immigrant destination, except for a special type of migrants, meaning terrorists

Figure 15. United Planet

Figure 15. United Planet

Text of the soundtrack and subtitles of the video: United Nations must be more united through the mobility of citizens, immigrants and tourists across world cities

Figure 16. Baby Republic

Figure 16. Baby Republic

Text of the soundtrack and subtitles of the video: I don’ t see any problem if the region of Spain wants to separate from Catalonia, providing they accept to dialogue

Figure 17. Iced Metropolis

Figure 17. Iced Metropolis

Text of the soundtrack and subtitles of the video: My favourite sport is tourism in the Crimea peninsula and Europe cities. Instead of cars, it is more practical to travel with tanks. Thanks, Europe…

Figure 18. Nuclear Polis

Figure 18. Nuclear Polis

Text of the soundtrack and subtitles of the video: Nuclear power is the perfect way to make equal all people and states. That’s why I want to use nuclear weapons in all cities of the planet…

Figure 19. Urban Twitting

Figure 19. Urban Twitting

Text of the soundtrack and subtitles of the video: Immigrants are all fake tourists, and I am going to fire them all

Appendix 4: The Virtual Sociological Gallery technique on the City 3.0 / Tourism 3.0

Technical sheet 3:

  • Title of the work: Virtual sociological gallery technique on the City 3.0 / Tourism 3.0 Year: 2017

  • Technique/Medium: Video, Augmented Reality, Hybrid Reality

  • Format: 2D and 3D.

  • Dimension: N.A.

Synopsis: this work of art organises content and knowledge about Lisbon and tourism in this city, through texts, images and socio-semantic sites within Web 3.0. When entering the application, the user can choose between the following links: Home: introduction to the exhibited content; About: CV of the author; Gallery: virtual exhibition of images of the Hybrid Monument; other links lead to social-semantic sites Experimental Books and Web 3 Novel, where there are various contents about the city, culture and tourism. The Hybrid Monument means a merger between the Tower of Belem in Lisbon and the Eiffel Tower, which operates a link between diverse cultural heritage. Here, it is queried through an augmented reality device. The visitor of the Virtual Sociological Gallery experiments with an unprecedented and seminal mix of social, virtual, augmented and mixed realities, in a process that produces Hybrid Reality.

Equipment needed for assembly and / or exhibition: mobile phone Specific requirements for assembly, transportation or other: N.A.

Figure 20: Room sheet in the exhibition

Figure 20: Room sheet in the exhibition

Figure 21: Destinations of the hyperlinks: Home: description of the Hybrid Monument

Figure 21: Destinations of the hyperlinks: Home: description of the Hybrid Monument

Figure 22: Destinations of the hyperlinks: site Experimental Books

Figure 22: Destinations of the hyperlinks: site Experimental Books

Figure 23: Destinations of the hyperlinks: site Web 3.0 Novel

Figure 23: Destinations of the hyperlinks: site Web 3.0 Novel
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Notas

1 The “Mobile Culture and Tourism Communication” project brings together a team coordinated by the author of this article at the Communication and Society Research Centre of the University of Minho in Braga, Portugal.

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Índice das ilustrações

Título Figure 1: A hybrid monument
URL http://journals.openedition.org/cs/docannexe/image/355/img-1.jpg
Ficheiro image/jpeg, 24k
Título Figure 2: Programme and participating authors in the cultural event NewArtFest’17 (extract)
URL http://journals.openedition.org/cs/docannexe/image/355/img-2.jpg
Ficheiro image/jpeg, 164k
Título Figure 3: Audience viewing the works of the Sociological Exhibition and Virtual Sociological Gallery (top) and Virtual Survey (centre). Below, the author is talking with the curators of the Natural History and Science Museum, the event’s venue
URL http://journals.openedition.org/cs/docannexe/image/355/img-3.png
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Título Figure 4: Sociological exhibition
URL http://journals.openedition.org/cs/docannexe/image/355/img-4.png
Ficheiro image/png, 663k
Título Figure 5: Tourism 3.0
URL http://journals.openedition.org/cs/docannexe/image/355/img-5.png
Ficheiro image/png, 536k
Título Figure 6: Mass tourism
URL http://journals.openedition.org/cs/docannexe/image/355/img-6.jpg
Ficheiro image/jpeg, 232k
Título Figure 7: The three ages of the internet: Web 1.0, Web 2.0 and Web 3.0
URL http://journals.openedition.org/cs/docannexe/image/355/img-7.jpg
Ficheiro image/jpeg, 196k
Título Figure 8: Society is a So(City)
URL http://journals.openedition.org/cs/docannexe/image/355/img-8.png
Ficheiro image/png, 485k
Título Figure 9: Mobile devices
URL http://journals.openedition.org/cs/docannexe/image/355/img-9.png
Ficheiro image/png, 434k
Título Figure 10. City 3.0, a socialsemantic network
URL http://journals.openedition.org/cs/docannexe/image/355/img-10.jpg
Ficheiro image/jpeg, 208k
Título Figure 11: Hybrid Reality in the event NewArtFest’177
URL http://journals.openedition.org/cs/docannexe/image/355/img-11.jpg
Ficheiro image/jpeg, 220k
Título Figure 12. Brexit City
Legenda Text of the soundtrack and subtitles of the video: European countries need the United Kingdom more than the inverse, for city mobilities too. In truth, Europe should pay compensations for not letting Britain abandon Europe to its mobile destiny
URL http://journals.openedition.org/cs/docannexe/image/355/img-12.jpg
Ficheiro image/jpeg, 40k
Título Figure 13. Urban Paradise
Legenda Text of the soundtrack and subtitles of the video: Mobile Europe must implement austerity for South European citizens, and neo-liberal mobility for immigrants
URL http://journals.openedition.org/cs/docannexe/image/355/img-13.jpg
Ficheiro image/jpeg, 44k
Título Figure 14. Nation Ville
Legenda Text of the soundtrack and subtitles of the video: French cities are the best tourism and immigrant destination, except for a special type of migrants, meaning terrorists
URL http://journals.openedition.org/cs/docannexe/image/355/img-14.jpg
Ficheiro image/jpeg, 36k
Título Figure 15. United Planet
Legenda Text of the soundtrack and subtitles of the video: United Nations must be more united through the mobility of citizens, immigrants and tourists across world cities
URL http://journals.openedition.org/cs/docannexe/image/355/img-15.jpg
Ficheiro image/jpeg, 28k
Título Figure 16. Baby Republic
Legenda Text of the soundtrack and subtitles of the video: I don’ t see any problem if the region of Spain wants to separate from Catalonia, providing they accept to dialogue
URL http://journals.openedition.org/cs/docannexe/image/355/img-16.jpg
Ficheiro image/jpeg, 36k
Título Figure 17. Iced Metropolis
Legenda Text of the soundtrack and subtitles of the video: My favourite sport is tourism in the Crimea peninsula and Europe cities. Instead of cars, it is more practical to travel with tanks. Thanks, Europe…
URL http://journals.openedition.org/cs/docannexe/image/355/img-17.jpg
Ficheiro image/jpeg, 36k
Título Figure 18. Nuclear Polis
Legenda Text of the soundtrack and subtitles of the video: Nuclear power is the perfect way to make equal all people and states. That’s why I want to use nuclear weapons in all cities of the planet…
URL http://journals.openedition.org/cs/docannexe/image/355/img-18.jpg
Ficheiro image/jpeg, 32k
Título Figure 19. Urban Twitting
Legenda Text of the soundtrack and subtitles of the video: Immigrants are all fake tourists, and I am going to fire them all
URL http://journals.openedition.org/cs/docannexe/image/355/img-19.jpg
Ficheiro image/jpeg, 32k
Título Figure 20: Room sheet in the exhibition
URL http://journals.openedition.org/cs/docannexe/image/355/img-20.png
Ficheiro image/png, 179k
Título Figure 21: Destinations of the hyperlinks: Home: description of the Hybrid Monument
URL http://journals.openedition.org/cs/docannexe/image/355/img-21.png
Ficheiro image/png, 295k
Título Figure 22: Destinations of the hyperlinks: site Experimental Books
URL http://journals.openedition.org/cs/docannexe/image/355/img-22.png
Ficheiro image/png, 344k
Título Figure 23: Destinations of the hyperlinks: site Web 3.0 Novel
URL http://journals.openedition.org/cs/docannexe/image/355/img-23.png
Ficheiro image/png, 517k
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Para citar este artigo

Referência do documento impresso

Pedro de Andrade, «Epistemology and methodology of urban cultural tourism: the case of the artistic sociology of mobile cultures and tourism communication in urban social networks»Comunicação e sociedade, 33 | 2018, 243-269.

Referência eletrónica

Pedro de Andrade, «Epistemology and methodology of urban cultural tourism: the case of the artistic sociology of mobile cultures and tourism communication in urban social networks»Comunicação e sociedade [Online], 33 | 2018, posto online no dia 29 junho 2018, consultado o 19 janeiro 2026. URL: http://journals.openedition.org/cs/355

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Autor

Pedro de Andrade

Pedro Andrade is a Researcher at the University of Minho and has a PhD in Cultural Sociology from FCSH-Universidade Nova, Lisbon. He has taught Sociology at the Universities of Coimbra, Lisbon and Minho. Areas: Sociology, Visual Arts / Cinema, Communication / Social Networks, Methodologies and Hypermedia. Coordinator of projects funded by the FCT: “Scientific-Technological Literacy and Public Opinion: the case of Science Museums”; “Public Communication of the Arts: the case of Local / Global Art Museums”. As a member of the Paris Film Coop, he directed: Film Saboté Spatial and Cinéma Corps. Hypermedia / hybrid works: 1st Portuguese cultural webpage (1995). Sociological Games (2006). Hybrid Blog (2006). Novela GeoNeoLógica (2009). Social-Semantic Sites in Web 2.0 and Web 3.0 Networks (2011). Sociological Comic Strips (2013/2016).
E-mail: pjoandrade[at]gmail.com - Address: Calçada dos Mestres, 7, 4º B, 1070-176 Lisbon - Communication and Society Research Centre. Campus de Gualtar. 4710-057 Braga, Portugal

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Martin Dale

Formigueiro, Conteúdos Digitais, Lda

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