GEOG30890 Multi-media Methods for Social Sciences

Academic Year 2020/2021

Multi-media Methods for Social Science will be a course with an intertwining focus on theory and methodology. Though the course will be framed around work in human geography, the skills gained will be relevant to any social science discipline.

As outlined by the aural geographers Michael Gallagher and Jonathan Prior (2013), multi-media work is ‘explicit in re-envisioning the geographer not merely as a (critical) bystander, but as an active and creative producer of space’. Further, as the visual geographer Trevor Paglen (2009) outlines, it is a set of ‘practices that recognizes that cultural production and the production of space cannot be separated from one another and that cultural and intellectual production is a spatial practice’. In short, this course is not about analyzing other people’s creative outputs as much as creating your own. Further, the methods that we will use in the course will be more-than-textual and will have a wide range of practical application after graduation.

In the spirit of multi-sited, multi-modal creative engagement, you will have the ability to submit course material in a range of critical and creative formats including video, audio and photography. This course will engage, as Harriet Hawkins (2013) has called for, ‘changing epistemological assumptions regarding places, and the associated methodological demands for multi-sensuous and affective explorations’. Prerequisite for the course is a desire for participation, for there can be no passive spectators in creative work. It is in the process of making work together that we learn what it means to do socially engaged creative research.

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Curricular information is subject to change

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: 
Student Effort Type Hours
Lectures

9

Practical

18

Field Trip/External Visits

8

Autonomous Student Learning

70

Total

105

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  
Description Timing Open Book Exam Component Scale Must Pass Component % of Final Grade
Assignment: Either as an individual or a group, you put together a creative project: a 5-7 minute video, 10-12 minute audio recording or 20-photo essay submitted for the class to watch/view/view and discuss. Week 7 n/a Graded No

50

Essay: A 2000 word essay written as a critical reflection on your creative work. This must be sole-authored. Week 12 n/a Graded No

50


Carry forward of passed components
Yes
 
Remediation Type Remediation Timing
Repeat Within Two Trimesters
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.