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Five scholars met as writers at a workshop at the 2007 International Congress of Qualitative Inquiry and made a commitment to write over the following year to, for and with each other. It became an experiment in the craft of autoethnography, exploring questions of intimacy and connection manifested through collaborative writing. Each year since then, the authors have returned to the Congress to read a small anthology of the year’s writing—and to decide whether or not to continue. This book covers the first two years of that writing, offering stories of how writing touches, how it writes bodies into being and in between. It is an affecting, radical work, exploring love and intimacy as scholarly, messy, complex methodology—writing that often affirms and sometimes disturbs.
How can one construct relationality with the other through the skin, when touch is inevitably mediated by memories of previous contact, accumulated sensations, and interstitial space?
A new critical perspective on the relationship between text and tact in 20th- and 21st-century literature and theory
Presents, in graphic novel format, the story of Alissa Torres, whose husband was killed in the September 11 terrorist attack on the World Trade Center, and her legal and psychological battles over his death.
This book puts a finger on the nerve of culture by delving into the social life of touch, our most elusive yet most vital sense. From the tortures of the Inquisition to the corporeal comforts of modernity, and from the tactile therapies of Asian medicine to the virtual tactility of cyberspace, The Book of Touch offers excursions into a sensory territory both foreign and familiar. How are masculine and feminine identities shaped by touch? What are the tactile experiences of the blind, or the autistic? How is touch developed differently across cultures? What are the boundaries of pain and pleasure? Is there a politics of touch? Bringing together classic writings and new work, this is an essential guide for anyone interested in the body, the senses and the experiential world.
Therapy, Stand-Up, and the Gesture of Writing is a sharp, lively exploration of the connections between therapy, stand-up comedy, and writing as a method of inquiry; and of how these connections can be theorized through the author’s new concept: creative-relational inquiry. Engaging, often poignant, stories combine with rich scholarship to offer the reader provocative, original insights. Wyatt writes about his work as a therapist with his client, Karl, as they meet and talk together. He tells stories of his experiences attending comedy shows in Edinburgh and of his own occasional performances. He brings alive the everyday profound through vignettes and poems of work, travel, visiting his mother, mourning his late father, and more. The book’s drive, however, is in bringing together therapy, stand-up, and writing as a method of inquiry to mobilise theory, drawing in particular from Deleuze and Guattari, the new materialisms, and affect theory. Through this diffractive work, the text formulates and develops creative-relational inquiry. With its combination of fluent story-telling and smart, theoretical propositions, Therapy, Stand-up, and the Gesture of Writing offers compelling possibilities both for qualitative scholars who have an interest in narrative, performative, and embodied scholarship, and those who desire to bring current, complex, theories to bear upon their research practices.
Technology companies claim to connect people through touchscreens, but by conflating physical contact with emotional sentiments, they displace the constructed aspects of devices and women and other oppressed individuals’ critiques of how such technologies function. Technology companies and device designers correlate touchscreens and online sites with physical contact and emotional sentiments, promising unmediated experiences in which the screen falls away in favor of visceral materiality and connections. While touchscreens are key elements of most people’s everyday lives, critical frameworks for understanding the embodied experiences of using them are wanting. In Touch Screen Theory, Michele White focuses on the relation between physically touching and emotionally feeling to recenter the bodies and identities that are empowered, produced, and displaced by these digital technologies and settings. Drawing on detailed cases and humanities methods, White shows how and why gender, race, and sexuality should be further analyzed in relation to touchscreen use and design. White delves into such details as how women are informed that their bodies and fingernails are not a fit for iPhones, how cellphone surfaces are correlated with skin and understood as erotic, the ways social networks use heart buttons and icons to seem to physically and emotionally connect with individuals, how online references to feminine and queer feelings are resisted by many men, and how women producers of autonomous sensory meridian response (ASMR) videos use tactile strategies and touch screens to emotionally bond with viewers. Proposing critical methods for studying touchscreens and digital engagement, Touch Screen Theory expands a variety of research areas, including digital and internet cultures, hardware, interfaces, media and screens, and popular culture.
This book is a manifesto. It is about rethinking performance autoethnography, about the formation of a critical performative cultural politics, about what happens when everything is already performative, when the dividing line between performativity and performance disappears. This is a book about the writing called autoethnography. It is also about what this form of writing means for writers who want to perform work that leads to social justice. Denzin’s goal is to take the reader through the history, major terms, forms, criticisms and issues confronting performance autoethnography and critical interpretive. To that end many of the chapters are written as performance texts, as ethnodramas. A single thesis organizes this book: the performance turn has been taken in the human disciplines and it must be taken seriously. Multiple informative performance models are discussed: Goffman’s dramaturgy; Turner’s performance anthropology; performance ethnographies by A. D. Smith, Conquergood, and Madison; Saldana’s ethnodramas; Schechter’s social theatre; Norris’s playacting; Boal’s theatre of the oppressed; and Freire’s pedagogies of the oppressed. They represent different ways of staging and hence performing ethnography, resistance and critical pedagogy. They represent different ways of "imagining, and inventing and hence performing alternative imaginaries, alternative counter-performances to war, violence, and the globalized corporate empire" (Schechner 2015). This book provides a systematic treatment of the origins, goals, concepts, genres, methods, aesthetics, ethics and truth conditions of critical performance autoethnography. Denzin uses the performance text as a vehicle for taking up the hard questions about reading, writing, performing and doing critical work that makes a difference.
This engaging, informative book makes an exciting contribution to current discussions about the challenges and uses of contemporary autoethnography. Authors from a range of disciplines ‘show and tell’ us how they have created autoethnographies, demonstrating a rich blend of theories, ethical research practices, and performances of identities and voice, linking all of those with the socio-cultural forces that impact and shape the person. The book will be a useful resource for new and experienced researchers; academics who teach and supervise post-graduate students; and practitioners in social science who are seeking meaningful ways to conduct research. This should be required reading for all qualitative research training.
Get hands-on experience building speedy mobile web apps with Sencha Touch 2.3, the user interface JavaScript framework built specifically for the mobile Web. With this book, you’ll learn how to build a complete touch application, called Find a Cab, that has the look and feel of a native app on Android, iOS, Windows, and BlackBerry devices. In the process, you’ll work with Sencha’s model-view-controller (MVC) components for form handling, styling, integration with outside data, and other elements. The Sencha Touch learning curve can be steep, but if you’re familiar with JavaScript, HTML5, CSS3, and JSON, this guide will get you up to speed through real-world examples. Learn the fundamentals, including the class and layout systems Use the Sencha MVC architecture to structure your code Implement data models and stores, and create an event controller Make remote connections by implementing server proxies Save data offline by implementing client proxies Work with view components such as maps, lists, and floating panels Implement and handle forms, and construct a custom theme Create production and native build packages