La etnografía es un acto de invención. Los antropólogos (y las antropólogas también) inventan siempre la manera de investigar con otras. La creatividad e inventiva que es integral a la actividad empírica de la antropología (y de manera amplia de la etnográfica), ha sido raramente reconocida por esta disciplina. Inventiva y creatividad parecen estar prescritas, muy al contrario de lo que ocurre en el mundo del arte, donde la creatividad es una de sus señas de identidad. Este encuentro online es la presentación / lanzamiento de ‘xcol. An ethnographic inventory’ en el Laboratorio de Antropología Audiovisual Experimental del MUSAC: tras una introducción del argumento teórico sobre la inventiva etnográfica se presenta una navegación guiada por el inventario xcol.
Ethnographic experimentation refers to an ethnographic modality where anthropologists venture into the collaborative production of venues for knowledge creation that turn the field into a site for the construction of joint anthropological problematizations. Invoking the trope of ethnographic experimentation we aim at describing how anthropologists creatively venture into the production of venues of knowledge creation through processes of material and social interventions that turn the field into a site for epistemic collaboration: a site for the construction of joint anthropological problematizations.
We would like to intimate a mode of collaboration that is neither a constitutive condition of fieldwork nor a deliberate strategy informed by political and ethical commitments: Collaboration as an epistemic figure that describes how anthropologists creatively venture into the production of venues of knowledge creation in partnership with their counterparts in the field. In these situations, the ethnographic method is re-equipped with new infrastructures, spaces of knowledge production, relationship forms and modes of representation.
Ethnography is an act of invention. Anthropological inquiries always demand to invent how to inquire and how to relate to others, this is the central argument upon which xcol-Inventory has been built. But if invention has always been integral to the empirical practice of ethnography, the imperative to care for our knowledge practices should also involve to care for the inventiveness of our modes of inquiry.
Meetings are, together with papers and books, perhaps the quintessential mechanism for the circulation of academic knowledge. And yet, despite their relevance, we usually resort to the most conventional formats: paper presentations, round tables, etc. Nevertheless, anthropology has recently recognised the need to explore other ways of sharing our knowledge and thinking together. We strongly believe that formats to share and think together should be considered as part and parcel of a discussion on ethnographic experimentation. We argue for the need to document these ‘experiments in meeting’ so that they may travel, be learnt and reproduced elsewhere.
Las antropología multimodal emerge en tiempos recientes haciendo uso de la particular condición hipermediada de nuestra época, superando la tradicional fijación de la disciplina con la escritura. Una antropología que explora formas de expresión y representación más allá de lo textual, que está basada en lo multi-sensorial, que es performativa antes que representacional y que es inventiva antes que descriptiva. La antropología multimodal nos sitúa ante otros 'modos' de indagación antropológica.
Searching to find ways to learn to appreciate multimodal approaches, this section reviews multimodal ethnographic projects. In it we explore ways to accurately describe them, paying special attention to their multi-media and socio-material arrangements––that is, their character as 'devices'––, as well as finding ways to discuss and value what modalities of inquiry they bring forth.
Meetings are, together with papers and books, perhaps the quintessential mechanism for the circulation of academic knowledge. Anthropology has recently recognised the need to explore other ways of sharing our knowledge and thinking together. What if we explored and documented our open formats, that is, our ‘experiments in meeting’?
How would an experimental fieldwork exercise look like? It’s as if the ethnographies of recent decades devoted to the study of new media, technoscience and global organisations were offering us, or even were forcing us, to reconsider the form and norm of ethnographic fieldwork. Evoking here ‘experimentation’ or ‘the experimental’ is not an act of rupture with method, but rather an attempt at renewing the descriptive vocabulary and the conceptual language of the tales of the field of our ethnographies.
Una antropología que no está basada en lo textual sino en lo multi-sensorial, que es performativa antes que representacional y que es inventiva antes que descriptiva. La antropología multimodal nos sitúa ante otros 'modos' de indagación antropológica.
How could games redevelop our repertoires of ethnographic representation and intervention? What vocabularies and considerations might allow us to unfold their full potential as relevant ethnographic or peri-ethnographic genres?