GEOG30890

Learning Outcomes:

• Use a still camera, video camera and audio recorder on full manual controls.
• Understand how audio/visual research tools can be used critically on social science research projects.
• Contribute to current debates about the limits of current research dissemination methods and to think critically about the future of research outputs.
• Understand the significance and debates in geography in regard to non-representational theory and how these research forms inform those debates.
• Critically analyse theory and empirical examples of experimental work through time, where it has succeeded, where it has failed and what we have learned from it all.
• Make your own piece of independent work, which will incorporate ‘creative’ methods broadly.
• Appreciate the ways in which geographical theory can help us understand experimental and creative work and how this work shapes the way we think and act.
• Debate current issues around this topic at the cutting edge of technology.
• Marshal and retrieve information from the library, internet resources and audio/visual material.
• Critically evaluate literature about multi-media geographies, including inter-disciplinary literature.
• Appreciate the role of audio, video and photography in and beyond geography.
• Reinforce and enhance debates around how geographies can specifically use these tools to inform notions of space, place, mobility and place-based creativity.
• Understand the history of multi-media work in social science, and how it has changed through time.

Indicative Module Content:

• Photographic Methods
• Sonic Methods
• Videographic Methods
• Editing, Audiencing and Publishing
• Technology and the Body
• Art and Activism

Student Effort Hours:

Approaches to Teaching and Learning:

The core of this unit is a creative project. Your project should be an exploration or investigation of a place or space, be it home, campus, or somewhere else, relying a historical, emotional, psychogeographic, social, cultural, or political story. You will be expected to create an individual or collaborative audio, video or photographic research output that will be shared in class. You will complete the course by writing a short reflective critical essay about your creative work, making full use of the lecture material and reading list.

Requirements, Exclusions and Recommendations

Not applicable to this module.

Module Requisites and Incompatibles

Not applicable to this module.
 

Assessment Strategy

 

Please see Student Jargon Buster for more information about remediation types and timing. 

Feedback Strategy/Strategies

• Feedback individually to students, post-assessment
• Group/class feedback, post-assessment

How will my Feedback be Delivered?

The creative project will be watched/viewed/listened to and discussed in class in week 10. Assessment will be given on an individual basis after group discussions. For group projects, each group member will receive the same mark. The reflective essay will be submitted individually and assessed at the end of term.

Essential Reading:
BAUCH, N. 2010. The Academic Geography Video Genre: A Methodological Examination. Geography Compass, May, 475–484.
CRANG, M. 2009. Visual methods and methodologies. In The SAGE handbook of qualitative geography, edited by Dydia DeLyser. London: Sage, pp. 208-225.
GALLAGHER, M. & PRIOR, J. 2013. Sonic geographies: Exploring phonographic methods. Progress in Human Geography, 38(2): 267-284.
GARRETT, B. L. 2011. Videographic geographies: Using digital video for geographic research. 35, 521-541.
GARRETT, B. L., ROSA, B. & PRIOR, J. 2011. Jute: excavating material and symbolic surfaces. Liminalities: A Journal of Performance Studies, 7, 1-4.
LAURIER, E. 2009. Editing experience: sharing adventures through home movies. Assembling the Line: http://www.ericlaurier.co.uk/assembling/resources/Publications/editing_experience.pdf
LAURIER, E. & PHILO, C. 2006. Possible geographies: a passing encounter in a café: https://www.era.lib.ed.ac.uk/handle/1842/2301
LORIMER, J. 2010. Moving image methodologies for more-than-human geographies. Cultural Geographies, 17, 237-258.
MERCHANT, S. 2011. The Body and the Senses: Visual Methods, Videography and the Submarine Sensorium. Body & Society, 17, 53-72.
PAGLEN, T. 2009. Experimental geography: From cultural production to the production of space, The Brooklyn Rail: Critical Perspectives on Arts, Politics, and Culture, New York. http://www.brooklynrail.org/2009/03/express/experimental-geography-from-cultural-production-to-the-production-of-space
RICHARDSON-NGWENYA, P. E. 2013. Performing a more-than-human material imagination during fieldwork: muddy boots, diarizing and putting vitalism on video, Cultural Geographies, 21, 293-299.
ROSE, G. 2001. Visual Methodologies. Sage Publications, London.
SIMPSON, P. 2011. ‘So, as you can see...’: some reflections on the utility of video methodologies in the study of embodied practices. Area, Early View, 43 (3): 343-352.

Suggested Additional Reading:
ANDERSON, B. 2004. Recorded music and practices of remembering. Social & Cultural Geography 5(1): 3-20.
ANDERSON, J. 2013. Active learning through student film: a case study of cultural geography. Journal of Geography in Higher Education, 37(3): 385-398.
BROWN, K. M., DILLEY, R. & MARSHALL, K. 2008. Using a head-mounted video camera to understand social worlds and experiences. Sociological Research Online, 16.
BUTLER, T. 2007. Memoryscape: how audio walks can deepen our sense of place by integrating art, oral history and cultural geography. Geography Compass 1(3): 360-372.
DESILVEY, C., et al. 2013. 21 Stories. Cultural Geographies 21(4): 657-672.
GALLAGHER, M. 2011. Sound, space and power in a primary school. Social and Cultural Geography 12(1): 47-61.
GARRETT, B. L. 2019. Worlds through glass: photography and video as geographic method. In: WARD, K. (ed.) Researching the City. London: SAGE.
GARRETT, B. 2013. Explore Everything: Place-hacking the City. Verso: London.
GARRETT, B. 2016. London Rising: Illicit Photos from the City's Heights. London: Prestel.
GARRETT, B. 2014. Subterranean London: Cracking the Capital. London: Prestel.
GARRETT, B & HAWKINS, H. 2014. Creative Video Ethnographies: Video Methodologies of Urban Exploration in Video Methods: Research in Motion edited by Charlotte Bates.
GOMEZ CRUZ, E., SUMARTOJO, S., PINK, S. 2017. Refiguring Techniques in Digital Visual Research. London: Palgrave Pivot.
HAWKINS, H. 2013. Geography and art: an expanding field, Progress in Human Geography, 37(1): 52-71
HAWKINS, H. 2013. For Creative Geographies: Geography, Visual Arts and the Making of Worlds, London, Routledge.
INGHAM, J., et al. 1999. Hearing place, making spaces: sonorous geographies, ephemeral rythms, and the Blackburn warehouse parties. Environment and Planning D: Society and Space 17: 283-305.
KANNGIESER, A. 2012. A sonic geography of the voice: towards an affective politics, Progress in Human Geography, 36(3): 336-353.
LATHAM, A. & MCCORMACK, D. P. 2009. Thinking with images in non-representational cities: vignettes from Berlin. Area, 41, 252-262.
MATLESS, D. 2010. Sonic geography in a nature region. Social and Cultural Geography 6(5): 745-766.
MOULD, O. 2015. Urban Subversion and the Creative City, Routledge, London.
PINDER, D. 2005. Arts of urban exploration, Cultural Geographies 12(4): 383-411.
RELPH, E. 2007. An inquiry into the relations between phenomenology and geography. The Canadian Geographer / Le Géographe canadien 14(3): 193-201.
RYAN, J. 1997. Picturing Empire: Photography and the Visualization of the British Empire. Chicago, University of Chicago Press.
SIMPSON, P. 2012. Apprehending everyday rhythms: rhythmanalysis, time-lapse photography, and the space-times of street performance. Cultural Geographies, 19: 423-445.