Suchergebnisse

In the move toward a critical form of qualitative inquiry that realizes its transformative potential, this article encourages scholars to consider axes of need within research. A flexible framework suggests how researchers might respond to situated need through theoretically and contextually grounded inquiries. In first drawing from critical geography, the concepts of heterotopic space and spatial justice are used to theoretically explore potential sites of critical transformation. These fluid spaces next are situated along five possible axes of need: food, water, shelter, justice, and love. By way of illustration, axes then are read through the lens of an urban city; potential responses take shape as a research agenda that could include visual and experimental forms of mapping. Importantly, the framework offers methodological openings for a critical form of qualitative inquiry that directly responds to, and participates in, issues of local need.

In this article, the street is both a place of travel and a space for critical discourse. As tensions between public and private spaces play out in the streets, street artists claim visible space through multiple forms of art. Through a critical performance geography and a qualitative inquiry of the street, I photograph the movement of art across walls, doorways, windows, sidewalks, lampposts, alleyways, gutters, and dumpsters over a 7-month period in the Eastern Market neighborhood of Detroit ( N = 806). After describing street art as a fluid genre that has developed into a diverse spectrum of post-graffiti, I explore how street art contributes to a changing visual terrain through discussions of racism, decolonization, gentrification, and the role of art in spatial justice. Photographic cartography is introduced as (a) a visual method of performance geography that illustrates material-discursive "fault lines" and (b) a critical means of analyzing conversations in contested public space. Significantly, street artists simultaneously work within and against urban renewal policies in "creative cities" such as Detroit. Given that the arts are at the center of sophisticated visual discourse regarding neoliberalism, democracy, and the battle over public space, researchers might continue to examine how street artists inscribe social justice in, on, and around the streets.

This article proposes a posthuman / materialist somatechnics approach which encourages a more nuanced, ethical, and embodied attentiveness to how humans, nature, and materialities are not separate, but actively emerge through entanglements and in co-constitutive relation with one another. Such an attentiveness recognises that we are shaped by the places in which we live and by the many others – human and nonhuman – with whom we live. It also urges the need to reshape research methodologies. To illuminate how we might more closely attend to the places in which we live, learn, teach, inquire, and research, this article offers a series of situated, speculative, and somatechnic engagements arising from our recent ventures in two separate post-industrial cities. The article is framed as a mode of writing otherwise – as a series of experimental elemental essays and the theory-practice diffractive musings they have given rise to. Taken together, the essays and musings aim to contest deficit discourses of post-industrial cities and the multiple bodies who / which inhabit them. The posthuman situated and speculative somatechnics approach we propose offers insights into unexpected and surprising new relations. We hope the elemental essays and musings which follow invite readers to take up the 'practice of the pause' in their own places and spaces.

Reorganizing our library during the pandemic, James secretly placed Jasmine's copy of The Hundreds by his copy of Exercises in Style, the latter offering 99 different narrations of the same story. In our accidentally large archive of abstracts for which we never wrote papers, we had a collection of constrained writings, all iterations of our shared research narrative. Many of these were unsubmitted responses to calls for papers (CFPs), conferences we were not able to attend, or papers we never got around to writing. We share the following sample of 24 abstracts here as an invitation, should anyone wish to develop these ideas. Furthermore, abstracts themselves constitute a genre of scholarly communications, the art of which might be developed to make research more accessible, abstracts themselves being situated in front of paywalls. Ultimately, this project led to the 25th abstract and introduction to our podcast, the Researchers' Cardbox.