ANTHMETHGRP1-24-25-LAUREN-MULLEN

[Last modified: December, 4 2024 12:21 PM]

My group and I discussed a student wishing to study Women survivors of domestic abuse in Pakistan. Reading through the case study several ethical issues were immediately apparent to us. Firstly, the student had previously interned at the women’s refuge they wished to use as the field site. As such, there is an inherent power dynamic as the student has previously been in a position of power and care over the potential interlocutors. This is only compounded by the fact that the women of this refuge are in a particularly vulnerable position having recently relocated for their security and safety. As a result, the women cannot provide free and full consent, and their vulnerable status would result in a high risk classification of this study.

Secondly, the student is seeking to include previous data collected during their time working at the refuge which was published in the local press. There are several issues with this, primarily the previous data was collected prior to any ethical clearance or approval. As a result, it would not be allowed to be included in the work and the student would need to collect a new data set.  In addition, the published article included the woman’s name and therefore issues of anonymity and data protection are raised. If the same data is used in the student’s thesis the woman’s identity may be revealed by virtue of her story and name being published in the press.

With these factors in mind, a risk-benefit analysis would indicate that the risks to the vulnerable women of this refuge would far outweigh the potential benefits of this study. Consequently, it is unlikely this student’s proposed study would be approved as it stands. To improve the likelihood of approval the student could alter the study to focus on women who have left the refuge and are now safely and securely resettled. Similarly, changing this study to use a domestic field site would be beneficial as there are issues with travel warnings to Pakistan as well an issue of gaining ethical clearance from a local research body. Neither of these adjustments would entirely change the students’ themes, they could still consider issues of domestic violence and could still use Pakistani participants, however adjusting the location and field site setting would mitigate some of the ethical concerns outlined above.

[Last modified: November, 28 2024 07:31 PM]

I was unfortunately unable to attend last week’s seminar and, as a result, missed the opportunity to engage in what sounded like a fascinating and illuminating exercise. While I can rely on my peers’ detailed blog posts to reflect on how the exercise might contribute as a multimodal ethnographic tool, I believe it would be more instructive to analyze a field site of my own and explore how multimodal techniques could enhance the ethnographic knowledge produced.

This led me to reflect on recent experiences, specifically my volunteering at a local foodbank. Although I’ve been involved with the foodbank for over five years and am familiar with both the physical space and the employees and local visitors who frequent the charity, I was recently invited to assist with one of their lunch clubs. I was struck by how much the space I thought I knew was transformed through the activity. This physical transformation, with tables pushed together and chairs unstacked, was complemented by an influx of visitors who, in turn, transformed the atmosphere.

Capturing this physical transformation through words alone is challenging, making it an ideal opportunity to use multimodal techniques. Personally, I would use video, time-lapse photography, or before-and-after images to visually document the functional transformation of the space and to deepen my ethnographic account of the activity.

Similarly, throughout the lunch club, there was a dynamic auditory experience, identifiable through patrons’ chatter, the scraping of utensils, the bubbling of food, and the rumble of London traffic outside. I believe an audio-scape recording of the space during this event would significantly enhance the ethnographic account. This approach would offer a more immersive and dynamic representation of the space and activity, allowing the background noises, local dialects, and convivial spirit to be experienced firsthand by the reader, rather than solely through the researcher’s description. Additionally, this provides an opportunity for greater subjectivity, as different readers may experience the audio differently and focus on different sounds.

While I believe these methods would enrich the ethnography, there are important ethical considerations to address, particularly regarding the dignity, privacy, and autonomy of participants. Informed consent must be obtained before any photography or audio recording, and care should be taken to avoid capturing identifying details to maintain participant anonymity. It’s also essential to respect participants’ comfort levels with being documented and to offer them the option to opt out.

Overall, I believe my chosen field site offers a valuable opportunity for multimodal ethnography. However, ethical considerations must be carefully managed to ensure the safety and comfort of all participants.

 

[Last modified: November, 19 2024 06:50 PM]

My embodied experience of the world changed instantly as I mounted my bike for the seven minute cycle to the tube station. On the short walk to the lime bike parking I was struck by the cold temperature, but my long coat and the striding movement of my walk had kept me warm and less aware of the elements. In mounting the bike and moving into a seated position it was immediately obvious I had made the wrong clothing choice. My long trench coat tails flew behind me exposing my legs, the thin veneer of my tights failing to protect them from the brisk air or from the uncomfortable gaze of several passers-by. As I picked up speed, my hands gripped the cold handlebars, the recent turn in weather causing the brakes to stiffen and squeak.  As I barrelled down the street I noticed a prickly sensation radiating from my knuckles, reminding me again of my failure to account for the weather. Similarly, with each extension and bend of my legs, I was reminded of my knee injury and the throbbing pain that is brought to the surface only when my right leg is extended in a particular way. As such I had completely forgotten about said injury until that moment, further demonstrating the way my embodied experience changed upon mounting the bike. I ignored the pain and continued on my way, weaving through the quiet back streets of my neighbourhood before reaching the main road. As I waited for a suitable gap in the cars, buses and motorcycles that flew past, I noticed a change in my embodied experience. I slight buzz in my chest had emerged, likely a symptom of anxiety caused by previous road accidents and run-ins with less then friendly Londoners. Or perhaps simply a symptom of cycling in such a big metropolis, where the exposed nature of the vehicle and unpredictability of other drivers and cyclists alike can create a stressful experience. My mind felt alert however, and my anxiety soon turned into exhilaration as I navigated each corner, junction and zebra crossing with ease, arriving safely at the tube station.

Reflecting on this experience, I was struck by just how different the embodied experience of cycling felt compared to walking. On foot I find myself able to daydream and think, usually pumping a podcast into my brain in the process. On the bike however, this is not an option, I must remain alert and with heightened bodily awareness at all times. In mounting the bike my body has left the realm of pedestrian and become its own hybrid vehicle. In some ways I am afforded the status of pedestrian; I am free to disregard the one way systems that litter my neighbourhood and am often given the right of way reserved for those on foot. Despite this I must follow the rules of the road and navigate the space as if I am a vehicle, albeit without the vehicular padding and protection a car affords. Overall, it was clear upon mounting the bike that my embodied experience of the world had changed, not only in my bodily sensations of the elements but also in the degree to which I felt the presence of others vehicles, and the sensations of anxiety this produced.

[Last modified: November, 6 2024 08:45 PM]

My pilot research project is largely concerned with digital community building and digital encounters through long form nostalgia content on YouTube. While this is not explicitly political in nature, it is also not neutral and there are some underlying political components that must be considered.  Firstly, nostalgia in and of itself, is a highly politicised notion often employed in political arenas for the promotion of a particular political ideology. This is particularly evident among some right wing and nationalist movements that idealise past economic and social eras and employ nostalgic rhetoric of returning to a better or simpler time. In the digital sphere, it is possible that nostalgic content reinforces ideological echo chambers and provides a forum for discussing such political aspirations. While in my initial exploration of this digital community I did not find any explicitly political comments or content, it is important I remain aware of this possibility in the conducting of my research. Similarly, much of the nostalgia content I am engaging with is concerned with retro video games and media which stereotypically appeals to a male dominated, “incel” audience.  As such there are political dimensions regarding gender, sexuality and power dynamics. As a female identifying, liberal, queer woman I must be cognisant of the way I come across within this community, as well as my own biases. While, much of my identity is concealed in the semi-anonymous space of YouTube, any work outside of this, whether it be in a private group forum or in direct communication with a viewer or content creator, presents the opportunity for political issues to arise.  It is important that I check my own biases and work to dismantle any preconceived notions about this community so that my research is not affected.

[Last modified: October, 27 2024 05:30 PM]

The 10:30 train to Paris departed promptly from St. Pancras on the crisp, sunny morning of October 26th. As we pulled away from the station, my fellow passengers settled into carriage 12, placing their bags on the luggage racks and wedging smaller items onto the overhead racks that stretched the length of the carriage. I followed suit, placing my small bag on the rack above my head and settling into my pre-allocated seat. The overhead speaker bellowed from the carriage ceiling, notifying us that we were on our way. Most of my fellow passengers took little notice of this, excitedly chatting with their travel companions or lost in the world of their headphone-mediated cocoon. The first ten minutes of the journey were marked by the sound of rustling food packages—a phenomenon I have observed on many journeys. It appears that, despite every intention to save one’s food for a more appropriate hour, it is almost impossible not to demolish one’s lunch upon departure. Additionally, these first ten minutes were characterized by noticeable traffic along the carriage, with those who had not brought food eagerly striding toward the café car. As those on their feet navigated the carriage, they periodically swayed into other passengers, eliciting a “pardon” or “sorry,” and, of course, there was the inelegant dance of squeezing past fellow passengers in the narrow aisle.

As the passengers around me finished their lunch, they settled into other activities. Across the aisle from me, a young girl and her grandmother opened a coloring book to a large floral pattern. They laid out brightly colored markers and began coloring together. The young girl was buzzing with energy as she sang the French nursery rhyme “Coucou Hibou,” eliciting a stern “shhh” from her grandmother with the crescendo of each “coucou.” The passengers in our vicinity appeared unbothered and continued with their respective activities, with several peacefully sleeping and others engrossed in a laptop or tablet. I decided to walk along the aisle to get a better look at the carriage layout. The carriage largely featured a 2-2 seat orientation, with one side facing forward and the other backward. Along the carriage were sets of four seats oriented around small tables. These seats were mostly occupied by groups traveling together, evident in their communal activities and lively chatter. One table, occupied by a family of two adults and two teenage children, was playing a card game—one I couldn’t identify, but it appeared jovial and uncompetitive. Other groups at the four-seaters could be observed drinking and chatting loudly, with sporadic interruptions from conductor announcements or to share a view out of the window. As we continued our journey and were plunged into the darkness of the Channel Tunnel, I returned to my seat, rather keen to engage in some of that sleeping I had observed.

Reflecting on the experience of this exercise, I must note the difficulty I encountered regarding the task of taking field notes. Perhaps it was the closed nature of the environment I selected, but I found myself feeling awkward during the process, worrying that those around me would notice I was observing them. Additionally, the location impacted the quality of my notes, as the movement of the train made some of my handwriting difficult to decipher. Despite this, I found my notes extremely effective in transporting me back to the environment, especially my sketches, which prompted my memory of the space. Ultimately, I believe that with practice, the uneasiness I experienced during the exercise will dissipate and the quality of my field notes will improve.

 

[Last modified: October, 20 2024 07:20 PM]

When considering my positionality and the potential impact on my study of long form nostalgia content on YouTube, several key considerations emerged. Firstly, the long form nostalgia content and hyper-niche digital communities that my study focuses on are largely male dominated. This is especially apparent with the video game retrospectives I have studied so far. As a result of this, the male dominated community may view me, a feminine presenting woman, as an outsider.  Similarly, I may be viewed as an outsider due to my unfamiliarity with the topics of the videos.  Some of the content I have engaged with have been concerned with video games I have never played and some that were released prior to my birth.  Despite this, I am involved in this community as a user of YouTube that typically engages with long form content outside of my research. As a result I must be careful to maintain adequate distance and not allow my own nostalgic sentiments and entertainment preferences to influence my positionality as a researcher. This is particularly important when selecting videos for participant observation and conducting thematic analysis of the comment sections. I must be conscious not to gravitate toward videos that speak to my preferences or to exhibit confirmation bias in the seeking of nostalgic comments. Furthermore, my nationality as an American may aid me as many of the long form content creators I have engaged with thus far share my nationality. As a result of this shared nationality, I may be viewed more favorably or have increased access in my pursuit of interlocutors. In addition, my digital presence and consumption could result in an algorithmic positionality as my previous viewing habits inform YouTube’s algorithm to push certain content to my homepage and to the top of search pages. To mitigate against this, I have created a new YouTube account purely for research purposes which I will keep separate from my personal account.  

Overall, it is evident that factors such as my age, gender, nationality and personal viewing habits/preferences can have unintended consequences on my research. I will continue to be considerate and practice reflexivity in order to account for these and any other factors that emerge. 

 

[Last modified: October, 16 2024 02:15 PM]

The sun was shining down on UCL as I embarked on my first practice participant observation. Unfortunately, I would not be relishing the sun but needed to turn my attention to my laptop where my digital field site awaited. I began by opening a new YouTube account, one that would be unaffected by my own personal viewing habits and the algorithmic effects of this. I entered my new account and arrived on the barren homepage, greeted by the prompt: “try searching to get started”. I obliged and typed in one of my keywords: ‘retrospective’. The resulting page was a seemingly endless stream of videos, more loading with each scroll. This stream of potential viewing material was sporadically interrupted by portrait-oriented videos called ‘shorts’, all of which had been tagged with the word ‘retrospective’. I swiftly moved past these however, and returned my focus to the long form content that populated my screen. The majority were video game retrospectives, with the first TV series retrospective appearing after 19 videos. The videos I noted were also all the long form genre, ranging from 40 minutes to over 12 hours. I unsurprisingly did not select a 12-hour video but settled on one of the first videos that my search had generated, titled simply ‘Wii Retrospective’.  The video created by youtuber Liam Triforce, is 80 minutes long, has over 1.4 million views and was released in May 2022. After watching the introduction, I turned my attention to the comment section to orient myself with the viewers and begin to observe what was being shared and experienced through this video. I began with the default filtering setting, with the most popular comments appearing at the top.

As I scrolled, I observed different conversations occurring within the space. Some commenters addressed elements of the video, sharing their opinions, and expanding or correcting points made by the creator. There were also many comments complimenting the creator and expressing enjoyment at the length, style and pace. Most of the comments I observed however were of a specific nostalgic nature. These comments specifically addressed the sensorial experience of the content and referred to the transportive qualities of the accompanying Wii music. This was expressed by several commenters who asserted; “That jingle is just pure childhood bliss” and “The moment the Wii menu theme hit, you took me right back to my family living room”.  Similarly, many comments I observed shared personal anecdotes, talking about childhood memories and lamenting video games today. I specifically noticed a theme of gifting in these anecdotes, with many of the comments referencing receiving the console from a close family member. This was particularly exemplified by a comment posted a year ago that read “My grandma bought my brother and I a Wii for Christmas in 2011, listening to that music again, seeing the menu. It brought me to tears man, thank you for bringing those memories back to me.”

While it is not surprising that a video focused on a game console that was released 18 years ago would elicit nostalgic sentiments, the deeply personal and self-reflective nature of many of them is surprising to me. As someone who frequents online space and consumes a considerable amount of digital content, it is evident that the comments I observed on this video are uniquely personal compared to those that would be found under a TikTok or Instagram reel.  With that in mind, I believe this mini participant observation has barely scratched the surface of this digital realm. I am keen to explore more videos of this genre and conduct more detailed thematic analysis to determine if the sharing of such personal and nostalgic anecdotes expands beyond the niche of this video.

[Last modified: October, 8 2024 07:23 PM]

Topic:

I am interested in the creation and consumption of long-form digital content on YouTube, specifically long-form video essays, deep dives, and nostalgia content. I have been a frequent user of YouTube for the past 10 years and, as such, have observed the changing trends of content presented on my homepage. Over the past two years, I have particularly been struck by the length of these videos, with many on my homepage ranging from 40 minutes to over 5 hours, as well as the concurrent nostalgic and retrospective elements of this content. This long-form content illustrates a departure from the short-form content that dominates platforms such as TikTok, Instagram, Facebook, and often YouTube, and provides the opportunity to shed light on a niche form of visual culture and its place in the wider digital landscape. Therefore, this research project aims to investigate this long-form digital content and the associated digital community to explore digital consumption habits, virtual community building, and themes such as nostalgia, digital memory, and information privilege.

Questions:

• What is the motivation of the creators and consumers of long-form YouTube content?
• Considering the length of this content, what are the digital habits of its consumers? What do viewers gain from this viewing experience?
• Is the length of this content informed by the creator or the consumer?
• What role do nostalgia and memory play in the creation and consumption of long-form retrospectives and nostalgia content?
• What role, if any, does information privilege and access play in the creation and consumption of long-form YouTube content?

Methods:

• Interviews: Semi-structured interviews will be conducted with long-form YouTube content creators and viewers to establish their motivations and digital consumption habits.
• Thematic analysis: I will analyze long-form YouTube content within this community. I will watch a range of videos categorized as long-form video essays and retrospectives to identify themes, patterns, and consistencies. Additionally, a comparative analysis will be carried out on the comment sections of these videos to identify viewer sentiment, discourse, and engagement.
• Participant observation: I will conduct participant observation within the community by creating a new YouTube profile that follows only accounts producing content within this niche. In addition, I will join the exclusive Patreons of selected individual creators to further immerse myself in the digital community and expand my network of participants.

[Last modified: October, 1 2024 05:15 PM]

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