Pub Date : 2022-07-11DOI: 10.1177/19408447221114849
Christopher N. Poulos
In this brief autoethnographic essay, I explore the contours of communication during and after (?) the COVID-19 pandemic.
在这篇简短的自我民族志文章中，我探讨了COVID-19大流行期间和之后的交流轮廓。
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Pub Date : 2022-07-11DOI: 10.1177/19408447221114841
J. Saldaña
The author recounts the Mount St. Helen’s volcanic eruption in 1980, and its parallels to the 2020 COVID-19 pandemic.
作者讲述了1980年圣海伦火山爆发的情况，以及它与2020年新冠肺炎大流行的相似之处。
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Pub Date : 2022-07-11DOI: 10.1177/19408447221114837
Ronald J. Pelias
This autoethnographic essay explores masks and identity management during the time of COVID-19. It addresses the author’s relationship to masked television and film characters as well as everyday literal and figurative life masks which hide and reveal aspects of ourselves. It ends with a reflection on mask-wearing during the current pandemic and its emergent entanglements.
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Pub Date : 2022-07-08DOI: 10.1177/19408447221114834
Donna F. Henson
This autoethnographic essay gives voice to the silent screams and layering of smiles and selves on souls that make-up and mask our everyday experience. Playing in the spaces between and among the lyrical and liminal, creative and critical, I reflect on the little fictions of omission and commission that compose our daily deception.
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Pub Date : 2022-06-29DOI: 10.1177/19408447221090657
Sophie Tamas
In this piece I reflect on various forms of impairment and resistance and speculate on their generative potential.
在这篇文章中，我反思了各种形式的损害和抵抗，并推测了它们的生成潜力。
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Pub Date : 2022-06-17DOI: 10.1177/19408447221090659
Kimberly Powell, Ilayda Altuntas, Michael E. Bricker
This article chronicles the development of walking workshops through a technique of defamiliarization in order to dislodge the taken-for-granted and open up walking to experimentation and novelty. We work with these concerns to consider walking as a research-creation methodology that composes inventive connections of a relational ethics that enacts a shared ecology of living and lived practices. Walking is not just about directional movement, traveling to or from a place. Walking’s movement is also affective: emergent; sometimes imperceptible; and a performative practice of knowledge in the making that is coproduced by more than human matter. Walking is thus open to novelty. Two of the authors in this article share their participation in these workshops, experimenting with ethico-aesthetic architectures of borders, spaces, and transitions that choreograph movements in places.
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Pub Date : 2022-06-12DOI: 10.1177/19408447221081138
S. H. Jones, D. Harris
In this poetic autoethnographic essay, we explore how the object of the caravan is a site and home for the creation of queer subjectivities and relations with the more-than-human world. As a queer object of resistance, the caravan opens us up to both the beautiful and the monstrous in our worlds and ourselves. 1
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Pub Date : 2022-06-10DOI: 10.1177/19408447221090650
B. Hofsess, M. Rhoades
There is an overwhelming focus on scholarly agendas in the field of qualitative inquiry, yet what about scholarly attention? In responding to this question, the authors draw upon Ingold’s (2018) conceptualization of research as becoming “a practice of correspondence,” locating their methodological curiosity and wondering “in the world that affect proposed” (Stewart, 2017). Thinking with these questions and with theorists invited stories, stories invited photographs, photographs invited packages. Letters, poetic ruminations, artworks, time, and conversations unfurled—seeds opening and dissipating across currents of air. Sparked by various understandings of correspondence, the authors created degrees, conditions, and propositions for attending to how correspondence becomes with attention. The authors evoke the concept of p(l)aying—playing and paying attention as minor gestures that open potential for inquiry. Each variation sparked circuits of matter and mattering, as the authors attuned to the question, What might be learned from arts-based approaches to p(l)aying attention to scholarly attention?
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Pub Date : 2022-06-10DOI: 10.1177/19408447221081261
Stacy L. Holman Jones
This short essay introduces a special section of short poetic essays that meditate on and around the idea of autoethnography and/as material resistance.
这篇短文介绍了一个特殊的诗歌短文部分，这些短文思考并围绕着民族志和/或物质抵抗的思想。
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Pub Date : 2022-06-10DOI: 10.1177/19408447221108068
Hannah Weytjens
Students are often taught that quantitative analysis is about numbers while qualitative research is about language. Other types of content from these two alternatives, such as visual images, makes research analysis difficult, confusing, or even disorienting. Consequently, an initiate to learning qualitative research may be both eager and confident, but at the same time hesitant to work with images as they remain an undefined terrain. Choosing the unknown implies discomfort (Skukauskaite, Noske & Gonzales, 2018). Opting for a research method that deviates from more conventional analytical approaches can be scary. Consequently, it feels safer to use visual material when they adhere to the linguistic conventions of qualitative research and constrain the use of images solely to support narrative findings. Visual images can easily support traditional qualitative concepts of research. Afterall, as the adage goes, a picture – and visual material more broadly is worth a thousand words. There is an increasing interest from researchers in a variety of different disciplines to use images as data. They have certain advantages, especially for participatory types of research where participants are asked to create their own the images, as these images can assist both researchers and participants in “structuring, assessing or explaining their thoughts” (Clark, 2017, p.197). Hence, it would make sense that visual analysis is most suited to certain research questions that use visual materials as a prompt for interviewing or a method to document concrete artifacts that can be immediately discovered and seen. However, in addition to the functions of linguistic elaboration and notation, visual material holds an intrinsic meaning that goes beyond what can be immediately verbally expressed. As depicted in Figure 1, it is often difficult to know how to get started on this next level of visual research for the novice social science researcher, especially without an extensive training in art on how to read visual images. Where does one begin? The Analytical Apparatus for Visual Imagery (AAVI) proposed here by Hannes & Siegesmund encourages us to think about how to best grasp the meaning of visual material that is not immediately linguistically obvious. This necessitates understanding
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