ANTHMETHGRP3-2425-RHEA-LI

[Last modified: December, 2 2024 02:11 AM]

Our group mainly discussed the project which is concerning the young women’s perceptions of breasts and breastfeeding.This project explores the various and contradictory social messages about breasts and appropriate bodily behavior in the context of encouragement of breastfeeding, debates about public breastfeeding and the public sexualisation of breasts through advertising and other media.  The research will involve interviews, group discussions and a questionnaire with (a) sixth-form students (aged 16-19) at two schools in London and (b) a mother-toddler group, in order to reveal young women’s perceptions of their breasts and bodies and their understanding of what shapes these perceptions.

And here are our results and reflections about the question.

1.What ethical issues (if any) arise from this project? How should they be addressed?

Firstly, we suppose the informed consent should be acquired from the participants. They must fully understand the purpose, nature, and potential implications of the research. Ensuring age-appropriate, clear, and accessible information will be crucial.

Besides, their privacy and anonymity should be considered. As the discussions are about breasts, bodies, and societal perceptions may be deeply personal. Researchers must guarantee confidentiality and anonymity, using pseudonyms and securely storing data.

Also, the discussions about body image and societal pressures might cause distress or discomfort for participants. Researchers should provide access to support services and the option to withdraw without consequences. In this case, the participants should be fully informed if they felt uncomfortable during the procedure. They have the right to ask for leave.

2.What data protection issues (if any) arise from this project?

The personal information could be stored anonymously or at least use pseudonyms. And all data (audio recordings, transcripts, questionnaires) must be encrypted and securely stored.

3.Are there any problems around power / coercion?

Power dynamics could arise, especially with young participants (aged 16-19), who might feel pressured to participate due to their age or relationships with teachers or other authority figures. As a result, we should clearly communicate that participation is voluntary and unrelated to their education or relationships with authority figures as well as avoid conducting interviews in settings where authority figures are present.

4.Are ‘vulnerable’ individuals involved? Could the topic be considered sensitive?

Yes, vulnerable individuals are involved. Sixth-form students and mothers might feel vulnerable discussing body image and breastfeeding. The topic is sensitive due to its link to societal pressures, sexualization, and personal experiences.

5.Should this be approved by the Anthropology Ethics Committee? Or should it go to UCL REC? Would it be considered low or high risk?

This project should be reviewed by the UCL Research Ethics Committee (REC) because of the inclusion of minors and sensitive topics. It would likely be considered high risk due to its sensitive nature and involvement of potentially vulnerable participants.

 

[Last modified: November, 29 2024 12:57 AM]

Our group’s project focused on a offline space—a park. On the day we visited, the weather was perfect: clear sky and bright sunlight. A number of students and residents were sitting on benches, engaging in casual conversations. The lawn was scattered with fallen leaves, and squirrels could be seen darting up and down the trees. The atmosphere was peaceful, and it felt as though time had slowed down in this quiet corner of the city. The sound of birds chirping from nearby trees, mixed with the distant hum of passing cars and the occasional chatter of people walking by, added to the calm ambiance. The entire scene was one of tranquility, beauty, and a subtle connection with nature.

To capture the essence of this moment, we used a variety of recording methods. First, we decided to use our phones to record the park’s ambient sounds. We aimed to capture the rustling of the leaves underfoot, the occasional chirping of birds, and the murmur of conversations drifting by. These sounds were an essential part of the experience, as they helped convey the park’s atmosphere. Next, we took photographs and videos to document the visual aspects of the park. We hoped to capture the sunlight filtering through the trees, the golden hue of the leaves, and the peaceful expressions of the people around us. While the photos were beautiful, they fell short of truly conveying the essence of the moment. The video recordings, on the other hand, managed to capture the movement and liveliness of the scene, but even they could not fully express the subtle changes in light, temperature, or the feeling of the breeze on our skin.

Despite the limitations of photography and video, these methods still offer a relatively faithful reproduction of the environment. With today’s technology, video, sound, and photography are able to preserve and present a scene in a way that is more authentic than written descriptions or drawings. However, as Walter Benjamin pointed out, written words and drawings hold a unique power—what he called an “aura.” This aura allows readers or viewers to engage their imagination, drawing them into a deeper connection with the work. In a way, text and art enable the audience to feel the experience not just through a literal recording of events, but through a more abstract, emotional process. They invite the reader to interpret and fill in the gaps, creating a personal experience of the space or moment that is different from what a photo or video can achieve.

[Last modified: November, 22 2024 02:07 AM]

A long time ago I noticed that when I was doing my homework or encountering some tricky problems, I would always start skin picking unconsciously, and would even tear up until I bled. Later on, I gradually noticed that so many of my peers around me had this similar stereotypical behaviour, such as unconsciously gnawing their nails, pulling out their hair, and tearing the skin from their lips. I later learned that this is a kind of BFRB (Body-focused repetitive behaviours) that includes any repetitive self-grooming behaviour.
Since I am kind of a BFRB sufferer myself, to write this assignment, I started to focus on my body behaviours and feelings consciously, and when I feel anxious, picking at the skin on my hands makes me feel pain, which somehow diverts my attention and relieves my anxiety. Tearing off the dead skin would in turn give me a terrible sense of accomplishment, like the feeling of collecting my lost milk teeth. But the pain in my fingers was a constant reminder to my sanity not to do anything more to hurt myself. This contradiction and intertwining of pleasure and pain always made me unconsciously repeat the act over and over again. Sometimes in public, I would shy away from showing my fingers, so I would always get a manicure to stop this behaviour (long nails make skin picking inconvenient).
In terms of BFRB’s behaviour and psychology, this is a silent, external manifestation of inner anxiety acting on the body. Our society and culture tend to repress direct emotional expression, such as crying out loud and getting angry. As a result, individuals may turn to covert, private physical behaviours (e.g., gnawing nails, tearing skin) to transform emotions into ‘controlled’ physical actions. This is a way of distracting oneself from the pain of minor self-harm amid anxiety and busyness. Or to say that it is a form of silent resistance to social conditioning.

[Last modified: November, 21 2024 11:23 PM]

My pilot research project focuses on intimacy in COS-commissioned dating, specifically the dynamics between the commissioner and the commissioned (Coser). Although this research may seem politically irrelevant, it actually involves important political dimensions such as labour ethics, gender norms, and the commodification of emotional labour.

Certain political positions and assumptions are implicit in the project design itself. By examining COS-commissioned dating as a phenomenon worthy of academic inquiry, this design actually affirms the value of cosplayers’ emotional and performative labour. This stance challenges traditional notions of social stratification that tend to marginalise the practices of fan culture, and highlights the importance of emotional labour – a type of labour that is often undertaken by marginalised groups (including women and LGBTQ+ individuals). Such a framework also critiques the tendency of society in general to undervalue emotional and service labour.

As a researcher, my identity is inevitably intertwined with these political dimensions. As an outsider observing an industry centred on intimate and performative interactions, I am in a state of liminality: at once able to critique these practices from an academic perspective, but also potentially unintentionally exacerbating systemic power inequalities. Studying such a niche subculture may lead to its ‘othering’ or ‘alienation’, and my findings may be used to further commodify or regulate these interactions.

The political implications of my findings are manifold. On the one hand, it may reveal patterns of commodification of emotional labour and intimacy in the globalised economy, thereby challenging conventional notions of ‘real’ relationships. On the other hand, the research may also generate criticism, particularly from groups that see this commodification as exploitative or morally problematic. In addition, the findings of the research may also promote greater attention and recognition of the emotional labour of cosplayers, especially in the context of safeguarding their rights and autonomy from potentially precarious working environments.

In order to address these political factors, my research methodology needs to remain reflexive and participatory. I plan to do this through interviews with commissioners and Cosplayers, allowing their voices to shape the research narrative, rather than just filtering it through my analysis. Ethical issues will be prioritised in the research, particularly in terms of informed consent and protection of participant privacy, as the topic involves sensitive content on a personal level. At the same time, I will reflect critically on my research identity and the possible implications of the results to ensure that the research honours and benefits the communities in which the research participants are embedded, rather than using or exploiting them.

[Last modified: November, 21 2024 10:32 PM]

Today, I chose the Metro as the location for this field observation and I took the Jubilee line, Southwark to Canary Wharf, in the morning.

During rush hour, the carriages are exceedingly crowded, leaving passengers with little personal space. However, most individuals go to great lengths to avoid direct physical contact unless unavoidable. Subtle adjustments in posture—such as holding bags close or signaling others to shift with a glance—indicate a shared understanding of unwritten rules: maintaining as much comfort as possible in a shared space.

Interestingly, despite the crowding, conflicts were virtually nonexistent during this observation. Instead, when accidental contact occurred, passengers often quickly muttered “Sorry” before returning to silence. This brief and automatic exchange underscores the importance of politeness in the cultural fabric of the London Underground.

Throughout the journey, over 70% of passengers were observed using smartphones or wearing headphones. Activities such as scrolling through social media, reading the news, or listening to music appeared to serve as a form of “social shielding,” helping individuals avoid eye contact or interactions with strangers.

While these digital habits create an impression of personal immersion, there were occasional breaks in this self-imposed isolation. For instance, when the train briefly stalled due to a signal issue, two passengers exchanged a quick remark about the weather before returning to silence. These interactions, though fleeting and functional, reflect a quintessentially British tendency to engage in light, situational conversation to ease tension rather than pursue deeper connections.

The cultural diversity of London was palpable in the carriage: an Italian-speaking couple, a woman dressed in traditional South Asian attire, and several fast-talking professionals in sharp business suits. The mix of languages, clothing styles, and behaviors vividly illustrated London’s status as a global city.

As the train approached Canary Wharf, the dominance of suited financial professionals became increasingly apparent. Often holding takeaway coffee cups, they exuded a sense of urgency. In contrast, students and tourists—with their backpacks and suitcases—appeared more relaxed, embodying a different tempo of urban life.

The London Underground is not just a means of transport but a microcosm of urban society. In this space, body language, digital habits, and cultural diversity intertwine, reflecting the complexities of city life. While interactions between passengers are typically brief and superficial, they reveal a deeper cultural logic underpinning these silent rules and behaviors.

For future fieldwork, I plan to explore the origins of these “invisible rules” and how they shape interpersonal dynamics in this unique public space. As The underground serves as a “dynamic museum” of urban culture, so as an observer, I cannot help but reflect on my role: am I merely documenting this culture, or am I also an integral part of it?

 

[Last modified: October, 22 2024 06:44 PM]

My research focuses on exploring intimacy within the “cosplay commissioned dating service,” a niche subculture that has emerged from the world of Otome gaming. I have personally experienced Otome games as a player for over a year, which has greatly influenced my approach to this research. Having been an active participant in the gaming community and closely following online discussions surrounding cosplay commissions, I developed a unique proximity to this subculture before formally embarking on this research project. This firsthand experience and immersion in the community have served as a kind of informal field pre-study, giving me valuable insights into this world.

When I first started playing Otome games, cosplay commissioned dating was just beginning to gain traction in China. Now, it has grown into a more popular and widespread phenomenon. Over time, I have observed its development and become familiar with some of the key patterns and behaviors associated with cos commissions. I also know several of the research subjects personally—players I met during my time as a gamer—allowing me to approach them with a deeper understanding of their motivations and mindset. Having once considered engaging in cosplay commissioned dating myself, I can empathize with participants in this service, which has enabled me to form a nuanced perspective of their experiences. I also have a strong grasp of the specialized terminology used within these cultural circles, which has allowed me to collect more accurate and authentic data during both observations and interviews.

However, despite my familiarity with the gaming world, I must acknowledge a gap in my firsthand experience with cosplay commissioning itself. Because I have not directly participated in this service, there is a possibility that my study may be influenced by certain preconceived notions shaped by online discussions and other secondhand sources. To mitigate this, I plan to actively participate in the cosplay commissioned dating service during my research, with the aim of gaining a more accurate and realistic understanding of the intimacy involved in these interactions. This immersive approach will allow me to move beyond preconceived ideas and engage more critically with the subject.

Given that this study focuses on intimate relationships, several ethical concerns arise. The issue of informed consent is especially crucial, as participants need to fully understand and agree to the nature of the research. Additionally, great care must be taken when formulating research questions to ensure they do not infringe on participants’ privacy or make them feel uncomfortable. Since cosplay commissioning remains a subcultural practice, if any photos or videos from commissioned cosplays are to be publicly shared—such as on social media platforms—explicit consent must be obtained from participants, especially when intimate interactions or emotional expressions are depicted. These ethical considerations will be central to maintaining the integrity of the research.

[Last modified: October, 14 2024 01:36 AM]

Research proposal

Topic:

The growing“cosplay commission” dating in China: a form of business or social interaction?

Question:

1. How do they seek to provide this kind of “commissioned dating”?
2. why did the form of commissioned dating emerge?
3. What motivates the dating service seeker and the provider?
4. How can we understand the relationship between the providers and seekers of cosplay commission services?
5. What is the self identity of the participants in these cultural services?

Method:

• Digital Ethnography

The online field sites will be set in Chinese social media platforms—specifically in Weibo’s ‘Super Topic’ communities, and the posts under relevant tags on Xiaohongshu and Douyin. By joining online interest groups related to some specific otome games, and observing discussions under tags like ‘cosplay commission’ and ‘otome games’, I will participate in their discussions, activities, and interactions. Data collection will include text, images, videos, interaction records from these communities, and followers’ interactions under relevant KOLs.

• In-depth interviews

During the process of online ethnography, some of the players (both those who have participated in cosplay commission services and those who haven’t) will be invited for interviews. This will provide a relatively detailed description of their experiences and perspectives regarding these services, as well as their self-perception. For any sensitive issues that may arise during the interviews, if they cause discomfort to the interviewee, they can feel free to express this and terminate the interview at any time.

• Participant observation

Through an in-depth experience of the otome game and participation in the cosplay commission service, a detailed description of the entire service experience will be provided.

Potential findings:

• Female players are more inclined to look for female cosers in cos-commissioned services. During the dating process, the commissioners usually project their emotions towards the female cosplayers who would dress as the male characters in the game. The service seekers expect to be able to have intimate interactions with their favourite male characters in the game, and they hope to have a good dating experience in a way that is free from sexual harassment from the males.
• The dating process of the cos commissions can be understood in the theory of Dramaturgy, in which both individuals are 100% committed to their characters for the dating process, and then detach themselves from their characters once the date is over.
• Concerns should be pointed out, there is no shortage of minors among the players seeking and providing cos commission services. The protection and regulation of minors is still a problem.

[Last modified: October, 1 2024 06:14 PM]

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