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This article takes the notion of the manual as a focal point for understanding the demarcation and evaluation of embodied practices within algorithmic decision-making processes. Focusing on the use of the term manual reveals the limits of automation and the value attached to human intervention. Drawing on extensive qualitative interview data, it is concerned with how those within the UK housing sector approach questions of embodiment and materiality through the lens of the manual. We show how this notion is used to separate human input from algorithmic automation. The article explores how value is attached to the manual and how the term is involved in valuing human interventions. It begins by examining how the manual demarcates spaces and practices outside or alongside the algorithmic. It then focuses upon three manifestations the manual takes within these articulations. First by looking at the manual as the completion of a form, then the manual as a check and finally by looking at the manual as approval. The article develops a central argument concerning processes of valuing and evaluating the manual, that are tied up with these visions and demarcations. [ABSTRACT FROM AUTHOR]

Although conventionally described as a 'visual' method, film-making is also increasingly used within research on embodiment. However, much remains to be said about the ability of filmic methods to enhance researchers' capacity to think and research through the body. Drawing on my experience of making four research films, in this paper, I attempt to advance this agenda in three steps. First, I introduce anthropological work on the filming body to shed light on the technologically-mediated encounters that enfold around a camera and discuss how they might inform geographical thinking. Second, I describe the corporeally-mediated object ecologies that take shape within the filming setting and highlight how a camera might make objects 'speak'. Finally, I discuss the affective dimension of screening research films to research participants and the contribution of such intense events to the articulation of collective matters of concerns. Through these three themes, I make the case for understanding knowledge production as located not merely in encounters with filmed audio-visual content, but also in the embodied-material encounters of bodies and objects around the filming and screening apparatus. I finally discuss the implications of these reflections for conceptualising the 'body' within embodied methods in social and cultural geography. [ABSTRACT FROM AUTHOR]