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Managing multiple embodiments in the life drawing class
Rebecca Collins

-standing practitioners of their chosen art or craft, or as curious newcomers (e.g. Banfield, 2016 ; Paton, 2013 ; Thomas, 2014 ). In this chapter I consider how auto-ethnography, as a state of ‘reflexive-thinking-being’, employed here within a space of artistic activity (life drawing classes), has enabled me to explore geographies of bodies, nudity, sexuality and intimacy by moving – physically, conceptually and recursively – between moments of the mundane (engaging in my hobby) to instances of the spectacular (such as seeing my body featured in artists’ work). As a life

in Mundane Methods
Migration, colonial Australia and the creative encounter
Author:

Translations is a personal history written at the intersection of colonial anthropology, creative practice and migrant ethnography. Renowned postcolonial scholar, public artist and radio maker, UK-born Paul Carter documents and discusses a prodigiously varied and original trajectory of writing, sound installation and public space dramaturgy produced in Australia to present the phenomenon of contemporary migration in an entirely new light. Rejecting linear conceptualisations of migrant space–time, Carter describes a distinctively migrant psychic topology, turbulent, vortical and opportunistic. He shows that the experience of self-becoming at that place mediated through a creative practice that places the enigma of communication at the heart of its praxis produces a coherent critique of colonial regimes still dominant in discourses of belonging. One expression of this is a radical reappraisal of the ‘mirror state’ relationship between England and Australia, whose structurally symmetrical histories of land theft and internal colonisation repress the appearance of new subjects and subject relations. Another is to embrace the precarity of the stranger–host relationship shaping migrant destiny, to break down art’s aesthetic conventions and elide creative practice with the poetics (and politics) of social production – what Carter calls ‘dirty art’. Carter tackles the argument that immigrants to Australia recapitulate the original invasion. Reflecting on collaborations with Aboriginal artists, he frames an argument for navigating incommensurable realities that profoundly reframes the discourse on sovereignty. Translations is a passionately eloquent argument for reframing borders as crossing-places: framing less murderous exchange rates, symbolic literacy, creative courage and, above all, the emergence of a resilient migrant poetics will be essential.

Anna A. Meier

, I use autoethnography to examine my own research with national security elites in Berlin, Germany, and Washington, DC. Autoethnography is a method that underscores the co-constitution of knowledge in research encounters by using the researcher’s experience as a source of data ( Brigg and Bleiker 2010 ; Lapadat 2017 ). I apply an autoethnographic sensibility to three encounters from 2019: one with a

in The ethics of researching the far right
John M. Cinnamon

least to the apical ancestor of Gabonese fieldworkers, Paul Du Chaillu (1861), who published his Explorations and Adventures in Equatorial Africa in both English and French; almost all subsequent fieldworkers have had to contend with Du Chaillu’s legacy. Fang exceptionalism has continued to inform twentieth-century Fang ethnography and auto-ethnography. In order to trace

in Ordering Africa
Rethinking art, media, and the audio-visual contract
Author:

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Toxic Grafity’s punk epiphany as subjectivity (re)storying ‘the truth of revolution’ across the lifespan
Mike Diboll

re-evocation of his punk subjectivity across the decades allowed him to restory tragedy and trauma; in this lay the cure for Mental Mike’s Madness. My intention above has been to write a ‘poststructuralist autoethnography’ to explore how a ‘punk subjectivity’ has endured, sometimes subliminally, sometimes epiphanically across my lifespan, influencing my social and political agency and my action-in-the-world in a range of contexts which are Toxic Grafity’s punk epiphany -209- very different to the original ‘anarcho-punk’ context of Toxic and its wider milieu. By

in Ripped, torn and cut
Yassir Morsi

The rendering of the ‘Muslim’ is crucial to the narrative of the War on Terror. In this chapter, Yassir Morisi explores through an auto-ethnography the relationship between Muslim and ‘Muslim’. The latter figure, in scare quotes, is for Brian Klug a figment, a fantasy and a myth. It represents the Orientalist tale of a callous Other of mindless worship and violence. But how, in the War on Terror narrative, can we separate the two figures easily and how can Muslims refuse to speak in response to the ‘Muslim’? How when everyday Muslims are caught in what Edward Said calls the dehumanising ‘web of racism’; a matrix of language holding in everyday Muslims; a nexus of knowledge and power creating the ‘Muslim’ and simultaneously obliterating the Muslim’s voice? Furthermore, despite being the focal point of racialised discussions about Islam, the threatening ‘Muslim’ is always deferred and is spectral in nature, befitting a post-racial colour blindness. Much like the figure of the ghost, its dual presence and absence protects the War on Terror narrative from charges of racism, and hence, shaped by the political forces of the War on Terror, Morsi contends that the Muslim becomes a complex (im)possible (suspended) subject in a post-9/11 world where (self-)knowledge remains tentative, contingent and situated within a discussion about the threatening status of our Otherness.

in I Refuse to Condemn
The messy longitudinal dynamics of never leaving the field
David Calvey

explored the rise of mixed martial arts (Spencer 2009; 2012 ) and the increasing feminisation of martial arts (Channon and Matthews 2015 ), with others being concerned with the more traditional styles of Aikido (Foster 2015 ), Karate (Chamoli 2020 ) and Judo (Goodger and Goodger 1977 ). Much of the methodological push in the field is understandably in forms of autoethnography (Stenius and Dziwenka 2015 ), practitioner-researcher narratives (Jennings 2013 ) and autophenomenography (Allen-Collinson 2011 ). Navigating a field that I could never

in Leaving the field
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An ethnography of militancy, emotions and violence

The Athenian anarchist and anti-authoritarian movement has been reinvigorated in recent years. Its public protests and battles against the Greek state, police and other capitalist institutions are prolific and highly visible, replete with rioting, barricades and Molotov cocktails. This book is concerned not so much with anarchist theory, as with examining the forces that give the Athenian anarchist and anti-authoritarian movement its specific shape. The author draws on Alberto Melucci's (1995a) work on collective identity, while offering a first-hand, ethnographic account of Athenian anarchists and anti-authoritarians in action, based on his time there in 2011 and 2013, living, squatting and protesting within this milieu. In the course of the chapters of the book, the author argues that varying shades of anarchic tendencies, and ensuing ideological and practical disagreements, are overcome for the most part in (often violent) street-protests. Athenian anarchists and antiauthoritarians are a pertinent area of research because of both their politics and their geographical location. There is the whole 'rise of anarchism throughout the activist world' phenomenon, visible from Seattle to Genoa, Quebec City to São Paulo. Anarchist and anti-authoritarian social movements are prominent actors in resistance to the current phase of capitalism in multiple, global locations. Throughout Europe, North and Latin America, Asia and the Antipodes, radical resistance to neo-liberalism often has an anarchist and/ or anti-authoritarian cast.

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Writing American sexual histories
Author:

The archive has assumed a new significance in the history of sex, and this book visits a series of such archives, including the Kinsey Institute’s erotic art; gay masturbatory journals in the New York Public Library; the private archive of an amateur pornographer; and one man’s lifetime photographic dossier on Baltimore hustlers. The subject topics covered are wide-ranging: the art history of homoeroticism; casual sex before hooking-up; transgender; New York queer sex; masturbation; pornography; sex in the city. The duality indicated by the book’s title reflects its themes. It is an experiment in writing an American sexual history that refuses the confines of identity sexuality studies, spanning the spectrum of queer, trans, and the allegedly ‘normal’. What unites this project is a fascination with sex at the margins, refusing the classificatory frameworks of heterosexuality and homosexuality, and demonstrating gender and sexual indecision and flexibility. And the book is also an exploration of the role of the archive in such histories. The sex discussed is located both in the margins of the archives, what has been termed the counterarchive, but also, importantly, in the pockets of recorded desire located in the most traditional and respectable repositories. The sexual histories in this book are those where pornography and sexual research are indistinguishable; where personal obsession becomes tomorrow’s archive. The market is potentially extensive: those interested in American studies, sexuality studies, contemporary history, the history of sex, psychology, anthropology, sociology, gender studies, queer studies, trans studies, pornography studies, visual studies, museum studies, and media studies.