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Between 1906 and 1909, the Austrian-born German anthropologist Richard Thurnwald undertook an expedition to Germany's Pacific colonies on behalf of the Berlin Museum for Ethnology. There he carried out a series of experimental psychological tests to investigate the mentalities and intelligence of Melanesian subjects. Due to the limitations on verbal communication, Thurnwald privileged non-verbal experiments, especially involving drawings made by his local assistants and guides. His 1913 publication Ethnopsychological Studies on South Seas Peoples reproduces some 200 of those images, which have seldom been studied since. This article examines Thurnwald's experiments in ethnopsychology through the lens of these visual materials and situates his project within larger international trends of scientific colonialism. Despite purporting to further native welfare, his application of experimental psychology to the colonial field was meant to provide solutions to the administration's most urgent problems: pacification, labour recruitment, and a declining birth rate. Yet, as this article argues, the images he collected can also be read against the grain as documents of indigenous response to German colonial rule. [ABSTRACT FROM AUTHOR]

Copyright of Materiales para la Historia del Deporte is the property of Polytechnic University of Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Spring 2021, I taught Urban Anthropology entirely online. In lieu of the interviews, participant-observation, and neighborhood tours I normally would have included in the syllabus, I asked students to carry out a series of visual exercises in their local neighborhoods to document what it was like to live through the lockdown period of the pandemic. In retrospect, I have begun to think about how utilizing a multi-sensory approach to ethnography during this time might have produced even richer insights about urban life.  In this commentary, I consider how while focusing on one sense, the visual, still allowed us to create an excellent snapshot of life in Indianapolis during the lockdown, utilizing more of our senses in representing local neighborhoods would have encouraged us to think even more deeply about how cities, like all human environments, are always in flux and responding at any given moment to a wide range of pressures, constraints, and opportunities.

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of GeSec: Revista de Gestao e Secretariado is the property of Sindicato das Secretarias e Secretarios do Estado de Sao Paulo (SINSESP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract\nSharing personal stories with others is essential to human interaction and language development. To communicate, individuals use a variety of semiotic resources, including images, symbols, and written and spoken language. These modes are deployed in the co-construction of a daily face-to-face conversation. A self-created film can serve as a valuable resource to facilitate a deeper understanding of a personal experience, especially where spoken or written language may present a challenge, for example, for people who rely on augmentative and alternative communication (AAC). Although the AAC literature indicates that using videos delivers benefits for aided communicators, guidelines on how to self-create, use, and transcribe them are rare. The present paper, a tutorial, describes how people who use AAC can develop a personal-video-scene (PVS) via the Film as Observable Communication (FaOC) method to utilize self-created films in sharing their stories. The first part of this paper, the theoretical framework, describes theories, methods, and practices from the fields of AAC, social semiotics, and visual anthropology, on which the FaOC method is based. The second part provides a step-by-step tutorial delivering practical guidance on how to create, use, and transcribe the PVS as a resource in conversations.Read the transcriptWatch the video on Vimeo© 2024 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group [ABSTRACT FROM AUTHOR]

In the 1960s–1970s in the Soviet society, formation of new civil rituals gained relevance. One of the newfound components was family and household (personal family) rituals – ceremonial registration and a wedding. The article reveals the process of introducing a new civil wedding ritual in a Tatar village in the 1970s. The sources include wedding photographs from the family archives of the Nurutdinovs, the Mamatovs, the Khakovs, and the Romazanovs – natives of different regions of the Tatar Autonomous Soviet Socialist Republic, as well as the author’s field materials collected through in-depth and longitudinal interviews. Wedding photographs represent valuable illustrative material on the problem of the formation of a new “Soviet rituals” in the socio-cultural space of the village, including the destruction of the wedding image and deprivation of its national features and characteristics. They can be considered a multifaceted source upon which the formation of collective memory about the Soviet past is based.

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Drawing on interviews with, and images from, a selection of female participants, we develop the notion of semiotic assemblages to examine tattoos as mobile semiotic material for embodied meaning-making, with multi-located trajectories linking the tattooed bodies to different spatial networks. In turn, we draw on the social semiotic approach to multimodality by looking at assemblages of tattoos as vibrant material, pregnant with thing-power which, while re-making the bodies of individual tattoo owners, simultaneously shapes and semiotically remediates physical and affective (e.g. emotional and memorial) objects and feelings. We illustrate how corporeal materials and activities, and the incorporeal conceptual, perceptual and affective senses and feelings are remediated across boundaries of language, geography, semiotic modes, media, and chains of mediation to make meaning. We end with a suggestion that multimodal analysis of semiotic assemblages needs to take a multiscalar approach to account for mobilities, movements and flow, and the continuities and disconnections in forms and meanings the dynamics of the connectedness produce across different scales. [ABSTRACT FROM AUTHOR]

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In examining the decor of Fiches Castle, a 17th century painted ceiling adorned with animal figures, this study questions the instability of an ornamental device, observing mutations in its reception, today, as in the past. The discovery of the models used by the painters drives discussions on the function attributed to animal images. These discussions explore how the images were transferred from engraved books to monumental work through processes of adaptation and cross-referencing. The examination of the sources behind the figures reveals profound variations between ceiling areas from allegory to naturalism, suggesting reappropriation and reinterpretation of the decorative program throughout history, and showing, through animal representations, that decor is an ephemeral art.

The authors analyze the social practices of creating and storing a Tuvan family photo album throughout the XX - early XXI century. The sources of the study are the materials of narrative biographical interviews with ten respondents - indigenous residents of Tuva of different ages which were recorded by the authors in April - May 2023. The appearance of photo albums, the features of their creation and storage reflect the general history of photo albums in the Soviet state, and now in Russia. The authors point out that in the history of photo albums there appear the Tuvan traditions, for example, in photo frames inside the yurt there are photographs of relatives, domestic animals (horses), and elements of national cuisine. But due to the events of the XX century, the issue of loss and theft of photographs and photo albums became relevant for Tuvans. In the XXI century, Tuvans have a wide variety of photo albums on different media, and today family photo albums also represent the ethnicity of people.

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents a study conducted in Comuna 13 of Medellín. The author delves into the history of Comuna 13 by giving voice to five images painted on public walls. Through these images, readers are provided with a deeper understanding of the neighborhood's history, collective memory, communal processes, changes, adaptations, and the political, economic, social, and cultural implications, including conflicts, disputes, and areas of ambiguity. Subsequently, the author analyzes the impact of those images on the daily lives of residents. By combining images and text, this paper aims to contribute to the field of graphic anthropology. [ABSTRACT FROM AUTHOR]

From southern Chicago to the Santa Monica Pier, the historic U.S. highway Route 66 captures the imagination of travelers and dreamers. The "Mother Road" -- as it was nicknamed during its heyday (1926-1985) -- represents an upbeat spirit through its colorful streetscapes highlighting neon signs, diners, drive-ins, courtyard motels, and whimsical road art. Revealing the full story of Route 66 as a symbol of America itself, however, is richer and more varied than even its vibrant material culture might suggest. The road and the people who lived, worked, played, and traveled on it -- and continue to do so -- tell a profound story. Ahead of the centennial of Route 66 in 2026, several regional and national initiatives have developed to expand the highway's narrative. Through hands-on preservation programs, research collaboratives, photographic surveys, and digital story-mapping tools based in public agencies, universities, libraries, archives, and museums, projects are harnessing the story-telling possibilities of the road as a cultural landscape of grand and complicated significance. [ABSTRACT FROM AUTHOR]

In the dynamic landscape of online interactions, this article explores the use of digital diaries to unravel the intricacy of Portugal young adults' experiences within the realm of apps and their connection to gender dynamics. By designing a digital participatory research method, we were able to reflect on the participants' experiences in maintaining the requested diaries, scrutinize the major themes in the narratives generated through this approach, and examine how participants interacted with the prompts sent to them. Therefore, we delved into how participants both challenged and (re)negotiated these solicitations and how their agency led to an untapped reservoir of insights for the project in ways that went beyond words. There were visual and non-verbal elements that brought insights into young adults' interactions with mobile applications, offering a comprehensive exploration of four key themes: mobile apps as part of young adults' routines, between performance and authenticity, making the diaries their own, and elaborating on feelings. We also explored diary methods at the convergence of various disciplines and their high potential for contributing to topics related to gender, mental health, productivity, relationships, online identity management, apps in everyday life, intimacy, and more in creative ways. [ABSTRACT FROM AUTHOR]

On the Notre-Dame de Paris restoration site, objects and materials are the focus of contrasting attentions. While thedebris of the framework and the vault are examined and preserved as vestiges, the materials destined for Notre-Dame are prepared to be invested with the sacredness of the building. These different ways of thinking about the materiality of the monument and of putting it into memorial and narrative frames contribute to craft the exceptionality of Notre-Dame. They organize an ongoing investigation, based on a collaborative and visual ethnography, questioning the co-construction of authenticity, between patrimonial and religion practices. [ABSTRACT FROM AUTHOR]

Copyright of Zeszyty Wiejskie is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses, for the first time, on an in depth and systematic study of the face casts production of the Florentine anthropologist Nello Puccioni. The face casts are housed at the Museum of Anthropology and Ethnology of the University of Florence. Puccioni took the face casts in the course of his expeditions to Somalia (1924 and 1935) and Libya (1928 and 1929) during the Italian colonial occupation in Africa. This collection represents an emblematic case study of sensitive artefacts created, displayed and disseminated during fascism. This research represents an essential step in the well-needed process of decolonization of the Florentine museum and its contents. [ABSTRACT FROM AUTHOR]

Copyright of Revista Razón Crítica is the property of La Fundacion Universidad de Bogota Jorge Tadeo Lozano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article investigates the genesis and significance of the book published in 1967 by John Collier, Jr. (1913–1992), who proposed a new visual approach to anthropology. After an initiation into painting in the 1930s, he had switched to photography and was soon involved in undertakings that brought him into contact with other cultures. So he began to understand and use the camera as an eminently research technique. In a period of rampant modernization, he identified his mission in defending them from assimilation to the Western life model, and in enhancing their peculiar "energy." The first section shows how the book was laboriously written and which reactions it aroused. Since Visual Anthropology resembles a travel report about visited places, the second section briefly recounts the experiences that led to its drafting. The third section follows Collier's subsequent activity and outlines how the American anthropological community has since taken up his proposal. [ABSTRACT FROM AUTHOR]

Inclusive participatory approaches strive to make participants with mild intellectual disabilities (MID) co-researchers. However, academic standards of knowledge production and the need for cognitive skills can complicate collaboration. I argue that collaboration with people with disabilities is not about efforts of inclusion, but instead, it is our methodologies that need to be "cripped." This means moving away from the ideal of inclusion, toward a more interdependent and relational understanding of access and collaboration. This multimodal article shows how my "research subject" Olof and I explored this way of working together by describing the coproduction of the science-fiction film "O." [ABSTRACT FROM AUTHOR]

Jean Rouch is the iconic director of the French New Wave, the ethnographer and visual anthropologist of sub-Saharan Africa, and also the inventor of the cinéma vérité style. His perplexing and much-debated film The Mad Masters is a cornerstone of his oeuvre in regard to ethnographic filmmaking. During a “hauka” possession ritual emblematic figures of colonial rule come to life as “spirits” in front of Rouch’s camera. The reception of the film proposed many diverse interpretations. Is it an anti-colonial parody, collective therapy, the carnivalesque reversal of the world as Bakhtin described it, or the “colonised psyche” theorized by Fanon? My paper aims to introduce shades into the debate and discuss how arguments relate and rely on each other. I first clarify the visual research methods of the filmmaker and the general context of his cinematic approach. Secondly, I argue that in order to understand the social dimension of the ritual presented in the film we have to undertake a close reading of the film involving postcolonial theories, the notion of the carnival, lévinasian ethics and written ethnographic descriptions of the hauka-cult. [ABSTRACT FROM AUTHOR]

Visual Anthropology stands at the intersection of anthropology and visual media, encompassing the study, production, and analysis of visual materials as they relate to human societies and cultures. This research article delves into the multifaceted realm of Visual Anthropology, exploring its origins, methodologies, and contributions to understanding cultural diversity. By examining the evolution of visual methods in anthropological research, the article highlights the significance of visual representation in capturing and conveying the complexities of human experience and cultural practices. Through case studies and theoretical frameworks, it elucidates how visual media serve as powerful tools for documenting, interpreting, and disseminating anthropological knowledge, ultimately shaping our perceptions of the world and fostering cross-cultural understanding. [ABSTRACT FROM AUTHOR]

This paper offers a reading of Mantas Kvedaravičius’ research findings from the perspective of visual anthropology. The paper describes the continuities between Kvedaravičius’ theoretical concerns on the anthropology of war and his filmmaking approach. These continuities imply an epistemological position that approaches research cinematically and proceeds to write from that position. Kvedaravičius’ work is illustrative of research that takes audio-visual ethnography seriously and works through the possibilities and limitations of different media to produce new stories on the human experience. [ABSTRACT FROM AUTHOR]

Routier is the self-designation employed by Senegalese men driving decades-old vehicles overloaded with mostly second-hand items from Southern Europe to be sold in West Africa. This activity involves navigating a constellation of overlapping politico-administrative, socio-economic, cultural and geographical borders. Building on the concept of borderscapes, whose plasticity and aesthetic qualities allows us to interrogate diverse border universes, this essay visually explores routiers border( ing) enactments and contingent meanings. By seeing like a routier, the piece seeks to feed an on-going debate not only on how to depict borders writ large but also on how certain groups of people embody, see and are seen by contemporary borders. [ABSTRACT FROM AUTHOR]

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The histories of anthropology and photography are closely entwined, and nowhere more so than in southern Africa, where new European settler colonies emerged at around the same time as technology transformed people's ability to represent the places and people they encountered. This article explores the early ethnographic photography of the settler colony of Natal, South Africa, through the identities and contexts of one mid-1860s album. The article reveals a rich and burgeoning photographic culture in the colony, with numerous practitioners creating and copying images of African people for a variety of colonial audiences. One hitherto overlooked photographer in particular emerges from this story, who I here argue was probably the resident border agent Capt. Joshua Walmsley, whose racial 'type' images of Natal Africans were collected and published in many European scientific circles in the period. The album thereby constitutes what might be described as an incunabulum of the nascent sub-discipline of visual anthropology, a document that enfolds many interrelated histories that help us understand how European anthropology came to visually create its subject. [ABSTRACT FROM AUTHOR]

This essay examines the interweaving of the notions of "civilization" and "evangelization", intersecting them with those of "civility" and "profanation" in the long history of modern colonization and contemporary anthropology. His project, to be pursued, is to lift both the taboo of the anthropology underlying modern ethnography and that of the underground exchanges between missionary churches and the activity of anthropologists in the contemporary era. For this exploration, he calls on figures who are rarely brought together, such as Guillermo Furlong and Maurice Leenhardt.

This article presents a balanced account of visual social science in its successive emanations. It starts by defining the basic traits and assumptions of the visual study of culture and society and then moves to briefly sketch its origins in camera-based research and its gradual institutionalization. Then a discussion follows of the more recent period which is characterized by a broadening of the field of view in many respects: other non-camera based techniques have entered the scope, along with a more inclusive stance towards not directly visible referents. New technologies also have dramatically expanded the visual and spatial opportunities of visual research, and ways to include other senses than the visual are being considered. Next, the article moves to a concise discussion of different modes of visual data collection, production, and presentation. Four 'vignettes' complement this discussion by presenting applications of the main modes of visual social science: one about the study of found images, one involving researcher-produced images and another based on respondent-generated images, and lastly an excerpt of a visual essay. The final section examines some current challenges and opportunities of visual research in terms of navigating and partly overcoming several disciplinary and external expectations and constraints. [ABSTRACT FROM AUTHOR]

Copyright of Maguaré is the property of Universidad Nacional de Colombia, Departamento de Antropologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Seminare Learned Investigations / Seminare. Poszukiwania naukowe is the property of Francis de Sales Scientific Society / Towarzystwo Naukowe Franciszka Salezego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The few existing pictures of Indigenous peoples of Baja California before the age of photography offer a precious window into the peninsula's past inhabitants. The synoptic analysis of the material culture depicted in this imagery, from both religious and secular sources, reveals that the credibility of the pictures is based on highly contingent notions of truth that emerge from contextual relationships between images and texts. The essay maintains that representational differences mirror distinct ways of thinking about the depiction of ethnographic subjects. Although variability in style may depend on artistic ability and skill, diversity in subject and mode of representation are as much the product of multiple intermedial entanglements as they are the result of implicit aims and purposes. This unprecedented comparative exercise, while eliciting questions about what counts as accuracy in distinctive artistic and literary genres, encourages a reflection on the nature and role of images whose lives straddle between art and anthropology. [ABSTRACT FROM AUTHOR]