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Yourself in Projects, Autoethnography by Alicia Monedero-Chaves
“Autotheory could be seen as a methodology, a way of using bodily experience to gather knowledge.”
Zwartjes, A. 2025
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Yourself in Projects, Autoethnography by Alicia Monedero-Chaves
“Autotheory could be seen as a methodology, a way of using bodily experience to gather knowledge.”
Zwartjes, A. 2025
Pavol Socháň (Slovak, 1862–1941)
Two postcards depicting a woman (Hana Gregorová) in popular costume from Kapušany (and an unidentified costume), 1912
Slovenská národná galéria, inv. UP-DK 2671 and UP-DK 2652
Our monthly simple ethnographic reflections have begun!
Introducing our initiative, Strays and my RC, is meant to foster empathy in action, fieldwork interest, and community insights for the stray animals around us through a remote-controlled car. It is also intended to be the guiding arc for LEaf's archetypal robot next year.
Its only grounding message is this: that we, in our little skillful ways, can support other vulnerable beings in our reach.
Not everyone can directly approach a stray dog or cat safely, and that is okay! An RC and simple notetaking could help!
Transparency Note: NOT AI-Assisted.
"Cavalry" wooden toy, Żywiec, Poland, 1940s
Muzeum Etnograficzne w Krakowie (27689 MEK)
"One is better served by gathering knowledge from a combination of the disciplines — pedagogy, theater, ethnography, anthropology, and communication, among other — from which artists construct their vocabularies in different combinations depending on their interests & needs. The objective is not to turn us into amateur ethnographers, sociologists, or educators but to understand the complexities of the fields that have come before us, learn some of their tools, and employ them in the fertile territory of art."
- Pablo Helguera, Education for Socially Engaged Art, 2011
"Visual ethnography is not simply about using video to produce an accurate record of reality, but rather about acknowledging the camera as a tool for creating knowledge collaboratively and experientially."
- Sarah Pink, Doing Visual Ethnography, 2013
"One such figure is Jean Rouch, a French documentary filmmaker who, in the mid-1950s, quietly expanded the possibilities of what documentaries could be. Equipped with a 16mm camera, Rouch challenged the then-dominant established norms of expository documentary, most prominently by engaging in new forms of ethnographic cinema and focusing on an observational approach. Rouch’s documentary practice evolved as a direct result of his use of new filmmaking technologies, as analyses of Les maîtres fous (1958) and Moi, un noir (1955) will bear out."
Moi, un noir (1955) and Les maîtres fous (1958), Jean Rouch.