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This book is a transdisciplinary, international collection situated within a genealogy of experimental walking practices in the arts, arts-based research, and emergent walking practices in education. It brings together emerging cartographies of relation amongst walking practices ranging across arts-based, ecological, activist, decolonising, queer, critical and posthuman modes of inquiry. Its particular investment is in the proliferation of artful modes of inquiry that open up speculative practices and concepts of walking as an orientation for pedagogy, inquiry, and the everyday, resisting the gaze of privilege and the relentless commodification of human and nonhuman life processes. This is important work for the burgeoning demand for creative methodologies in the social sciences, and more specifically, for arts-based educational research.
As a research methodology, walking has a diverse and extensive history in the social sciences and humanities, underscoring its value for conducting research that is situated, relational, and material. Building on the importance of place, sensory inquiry, embodiment, and rhythm within walking research, this book offers four new concepts for walking methodologies that are accountable to an ethics and politics of the more-than-human: Land and geos, affect, transmaterial and movement. The book carefully considers the more-than-human dimensions of walking methodologies by engaging with feminist new materialisms, posthumanisms, affect theory, trans and queer theory, Indigenous theories, and critical race and disability scholarship. These more-than-human theories rub frictionally against the history of walking scholarship and offer crucial insights into the potential of walking as a qualitative research methodology in a more-than-human world. Theoretically innovative, the book is grounded in examples of walking research by WalkingLab, an international research network on walking (www.walkinglab.org). The book is rich in scope, engaging with a wide range of walking methods and forms including: long walks on hiking trails, geological walks, sensory walks, sonic art walks, processions, orienteering races, protest and activist walks, walking tours, dérives, peripatetic mapping, school-based walking projects, and propositional walks. The chapters draw on WalkingLab’s research-creation events to examine walking in relation to settler colonialism, affective labour, transspecies, participation, racial geographies and counter-cartographies, youth literacy, environmental education, and collaborative writing. The book outlines how more-than-human theories can influence and shape walking methodologies and provokes a critical mode of walking-with that engenders solidarity, accountability, and response-ability. This volume will appeal to graduate students, artists, and academics and researchers who are interested in Education, Cultural Studies, Queer Studies, Affect Studies, Geography, Anthropology, and (Post)Qualitative Research Methods.
This book creatively and critically explores the figure of the flâneur and its place within educational scholarship. The flâneur is used as a generative metaphor and a prompt for engaging the unknown through embodied engagement, the politics of space, mindful walking and ritual. The chapters in this collection explore sensorial qualities of place and place-making, urban spaces and places, walking as relational practice, walking as ritual, thinking photographically, the creative and narrative qualities of flâneurial walking, and issues of power, gender, and class in research practices. In doing so, the editors and contributors examine how flâneurial walking can be viewed as a creative, relational, place-making practice. Engaging the flâneur as an influential and recurring historical figure allows and expands upon generative ways of thinking about educational inquiry. Furthermore, attending to the flâneur provides a way of provoking researchers to recognize and consider salient political issues that impact educational access and equity.
An exploration of walking and mapping as both form and content in art projects using old and new technologies, shoe leather and GPS. From Guy Debord in the early 1950s to Richard Long, Janet Cardiff, and Esther Polak more recently, contemporary artists have returned again and again to the walking motif. Today, the convergence of global networks, online databases, and new tools for mobile mapping coincides with a resurgence of interest in walking as an art form. In Walking and Mapping, Karen O'Rourke explores a series of walking/mapping projects by contemporary artists. She offers close readings of these projects—many of which she was able to experience firsthand—and situates them in relation to landmark works from the past half-century. Together, they form a new entity, a dynamic whole greater than the sum of its parts. By alternating close study of selected projects with a broader view of their place in a bigger picture, Walking and Mapping itself maps a complex phenomenon.
Awarded QRSIG's Honerable Mention for 2021 2020 AESA Critics' Choice Book Award Winner Arts-Based Educational Research and Qualitative Inquiry introduces novice qualitative researchers, within education and related fields, to arts-based educational research (ABER). Abundant prompts and exercises are provided to help readers apply the concepts and experiment with various applications of the ideas presented. The authors walk the path with novice researchers offering a variety of approaches to the practice of arts-based methods, while providing a guided overview of ABER, and include pedagogical features in each chapter. Exercises are designed to assist educational researchers who wish to expand their repertoire of methodologies. The authors also weave into the discussion the possibilities and limitations of many types of arts-based methods while introducing readers to the growing methodological literature. By offering a tapestry of ways to engage the novice researcher, the book illustrates that it is not always possible to separate cognitive findings from aesthetic knowing. This book will help qualitative researchers to expand their methodologies to include arts-based approaches to their projects and by doing so reshape their identities as qualitative researchers. It also offers some evaluative criteria and tool kits for experimenting with various arts and educational research.
This book tells the methodological tale of a long term critical ethnography with a midwestern school district whose new language learning, transnational population was increasing. Rather than report on the findings of the study, the author shares the intimate methodological details of doing participatory ethnography of a school under transformation. Approaches aimed at shifting attitudes and possibilities included the use of Theatre of the Oppressed and analyses of monocultural mythmaking introducing new concepts. The author introduces an analysis of change that builds from a David Wood's deconstruction of time. Taken all together, the book illustrates creative and novel ways to engage in social justice transformation with school partners using participatory critical ethnography.
Nelson Mandela is one of the most revered figures of our time. The essays in this Companion, written by experts in history, anthropology, jurisprudence, cinema, literature, and visual studies, examine how Mandela became the icon he is today and ponder the meanings and uses of his internationally recognizable image.
"Embodied Inquiry is offered to all who want to deepen the connection to their bodies. Here is the inspiration to see your body as a place of inquiry, learning, understanding and perceiving. Listening to the sensual knowing and aliveness within the body can inform our personal and professional lives and reveal the connections between living, being, and creating. Snowber writes this book in poetic and visceral language as a love letter from the body wooing readers to inhabit their own skins and celebrate the beautiful and paradoxical place where limitations and joy dwell together. Touching on the vastness of our body’s call to us, Embodied Inquiry explores solitude, paradox, inspiration, lament, waking up to the sensuous, ecology, listening, and writing from the body. This is not a manual, but a book to accompany you in befriending the body and let your own gestures, stories and bodily ways of being lead you to listen to your own rhythm. Whether an artist or educator, researcher or administrator, performer or poet, seeker or scientist, you will find this book as a companion to sustain a vibrant life and co-create a better world. “A beautiful, creative and highly original book. Written with passion and wisdom, this book makes significant contributions to arts-based research, artistic research practice, embodiment, and living artful, intentional and connected lives. A stunning achievement.” – Patricia Leavy, Ph.D., author of Method Meets Art and editor of the Social Fictions series “Snowber offers wisdom for learning to live exotically, erotically, emotionally, and ecstatically. Reading Embodied Inquiry is like walking on a wilderness trail, in sunlight-infused rain, learning to embrace the possibilities of vitality and vulnerability, joy and grief, love and loss.” – Carl Leggo, Ph.D., poet & professor, University of British Columbia “Weaving prose and poetry, Snowber awakens our sensual and embodied self at the very roots of living. This deeply personal work will move educators, researchers, artists, and those for whom lived experience is core to their creative processs.” – Daniel Deslauriers, Ph.D., Professor, Transformative Studies Doctorate Program, CIIS" /div
FINALIST FOR THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD FOR THE ART OF THE ESSAY A New York Times Notable Book of 2017 The flâneur is the quintessentially masculine figure of privilege and leisure who strides the capitals of the world with abandon. But it is the flâneuse who captures the imagination of the cultural critic Lauren Elkin. In her wonderfully gender-bending new book, the flâneuse is a “determined, resourceful individual keenly attuned to the creative potential of the city and the liberating possibilities of a good walk.” Virginia Woolf called it “street haunting”; Holly Golightly epitomized it in Breakfast at Tiffany’s; and Patti Smith did it in her own inimitable style in 1970s New York. Part cultural meander, part memoir, Flâneuse takes us on a distinctly cosmopolitan jaunt that begins in New York, where Elkin grew up, and transports us to Paris via Venice, Tokyo, and London, all cities in which she’s lived. We are shown the paths beaten by such flâneuses as the cross-dressing nineteenth-century novelist George Sand, the Parisian artist Sophie Calle, the wartime correspondent Martha Gellhorn, and the writer Jean Rhys. With tenacity and insight, Elkin creates a mosaic of what urban settings have meant to women, charting through literature, art, history, and film the sometimes exhilarating, sometimes fraught relationship that women have with the metropolis. Called “deliciously spiky and seditious” by The Guardian, Flâneuse will inspire you to light out for the great cities yourself.
In Always More Than One, the philosopher, visual artist, and dancer Erin Manning explores the concept of the "more than human" in the context of movement, perception, and experience. Working from Whitehead's process philosophy and Simondon's theory of individuation, she extends the concepts of movement and relation developed in her earlier work toward the notion of "choreographic thinking." Here, she uses choreographic thinking to explore a mode of perception prior to the settling of experience into established categories. Manning connects this to the concept of "autistic perception," described by autistics as the awareness of a relational field prior to the so-called neurotypical tendency to "chunk" experience into predetermined subjects and objects. Autistics explain that, rather than immediately distinguishing objects—such as chairs and tables and humans—from one another on entering a given environment, they experience the environment as gradually taking form. Manning maintains that this mode of awareness underlies all perception. What we perceive is never first a subject or an object, but an ecology. From this vantage point, she proposes that we consider an ecological politics where movement and relation take precedence over predefined categories, such as the neurotypical and the neurodiverse, or the human and the nonhuman. What would it mean to embrace an ecological politics of collective individuation?