|
1 Technologies, Possibilities, Emergence and an Ethics of Responsibility: Refiguring Techniques |
|
|
1 | (12) |
|
|
|
|
|
2 | (2) |
|
1.2 What Does the `Technological Possible' Mean for Digital Visual Research? |
|
|
4 | (2) |
|
1.3 What are the Implications of Seeing Researcher Engagement with New and Emerging Technologies as Improvisation Rather Than Innovation? |
|
|
6 | (1) |
|
1.4 What Does This Mean for an Ethics of Responsibility in Digital Visual Research? |
|
|
7 | (1) |
|
1.5 How Can We Harness Techniques that Involve Digital Visual Technologies for Making or Ensuring Better Futures? |
|
|
8 | (2) |
|
1.6 How Can Digital Visual Technologies and Techniques Benefit Collaborations with 1-Aternal Research Partners and Stakeholders to Gain Understandings that Will Enable Us and Them to Better Judge How We Move on into Our Digital Futures? |
|
|
10 | (1) |
|
|
|
11 | (2) |
|
|
|
11 | (2) |
|
2 Non-human Sensing: New Methodologies for the Drone Assemblage |
|
|
13 | (12) |
|
|
|
|
|
|
|
14 | (1) |
|
|
|
15 | (3) |
|
2.3 Drone Piloting and the Wayward Object |
|
|
18 | (3) |
|
|
|
21 | (4) |
|
|
|
22 | (3) |
|
3 Immersive Reflexivity: Using 360° Cameras in Ethnographic Fieldwork |
|
|
25 | (14) |
|
|
|
|
|
25 | (1) |
|
3.2 Visual Practices and Digital Affordances |
|
|
26 | (2) |
|
3.3 Locating 360° Cameras Within Photographic History |
|
|
28 | (2) |
|
3.4 Sensing the Emplacement of Doing Fieldwork with 360° Images |
|
|
30 | (4) |
|
3.5 360° Images: Sharing Fieldwork Experiences |
|
|
34 | (1) |
|
3.6 360° Images as Visual Fieldnotes |
|
|
35 | (1) |
|
|
|
36 | (3) |
|
|
|
37 | (2) |
|
4 Empathetic Visuality: GoPros and the Video Trace |
|
|
39 | (12) |
|
|
|
|
|
|
|
40 | (1) |
|
4.2 Cameras on Our Bodies: Situating the GoPro |
|
|
41 | (1) |
|
|
|
41 | (1) |
|
|
|
42 | (1) |
|
4.5 Empathy and the Video Trace |
|
|
43 | (3) |
|
4.6 The Video Trace and Auto-Ethnography at a Public Event |
|
|
46 | (2) |
|
|
|
48 | (3) |
|
|
|
49 | (2) |
|
5 In Defence of the "Thin": Reflections on the Intersections Between Interactive Documentaries and Ethnography |
|
|
51 | (16) |
|
|
|
|
|
52 | (2) |
|
|
|
54 | (1) |
|
5.3 Defining the Interactive Documentary |
|
|
55 | (3) |
|
5.4 Academic Engagements with iDocs |
|
|
58 | (3) |
|
|
|
61 | (6) |
|
|
|
63 | (4) |
|
6 Ethnography Through the Digital Eye: What Do We See When We Look? |
|
|
67 | (14) |
|
|
|
|
|
|
|
|
|
|
|
68 | (2) |
|
6.2 How Does Eye-Tracking Work and What can it `Measure'? |
|
|
70 | (2) |
|
6.3 Eye-Tracking and Ethnography: Exploratory Case Studies |
|
|
72 | (5) |
|
|
|
77 | (4) |
|
|
|
78 | (3) |
|
7 Visual Documentation in Hybrid Spaces: Ethics, Publics and Transition |
|
|
81 | (12) |
|
|
|
|
|
|
|
82 | (1) |
|
7.2 Scene 1: Viewing Walls in Public Space |
|
|
82 | (4) |
|
7.3 Scene 2: Publics and the Museum |
|
|
86 | (4) |
|
7.4 Reading the Image of Hybrid Spaces |
|
|
90 | (3) |
|
|
|
91 | (2) |
|
8 At the Edges of the Visual Culture of Exile: A Glimpse from South Australia |
|
|
93 | (12) |
|
|
|
|
|
94 | (2) |
|
|
|
96 | (4) |
|
8.3 Between Here and There |
|
|
100 | (5) |
|
|
|
103 | (2) |
|
9 Careful Surveillance at Play: Human-Animal Relations and Mobile Media in the Home |
|
|
105 | (12) |
|
|
|
|
|
|
|
|
|
|
|
106 | (2) |
|
9.2 Non-Anthropocentric Understandings of Surveillance and Care Cultures |
|
|
108 | (4) |
|
9.3 Cross-Species Nature of Play |
|
|
112 | (2) |
|
9.4 Conclusion: Careful Surveillance |
|
|
114 | (3) |
|
|
|
115 | (2) |
|
10 Imagining Technique: Reflexivity, Ethnographic Arts and the Digital-Real |
|
|
117 | (14) |
|
|
|
|
|
118 | (2) |
|
|
|
120 | (2) |
|
|
|
122 | (4) |
|
|
|
126 | (5) |
|
|
|
128 | (3) |
| Index |
|
131 | |
Biežāk uzdotie jautājumi par e-grāmatām