After thinking about this project, and a couple of the other projects I have posted where ethnography/fine art are intersecting or fine artists are specifically employing ethnography as an methodological or ethical stance, perhaps the best way we can think about some of these projects is by extracting some of the methods they use which are successful in engaging people or participants. How are they attracting people or groups to work with and what are these projects that are successful in engaging participation and feedback?

While we are talking about this project, we should probably also take a look at this project (http://significantobjects.com/). This ended in the sale of the objects. From one of the steps of the project, "A participating writer is paired with an object. He or she then writes a fictional story, in any style or voice, about the object. Voila! An unremarkable, castoff thingamajig has suddenly become a "significant" object!" How does this change the whole idea of adding value to an object by telling a story about it or from the perspective of the object.

http://blogs.loc.gov/digitalpreservation/2012/05/a-vision-of-the-role-and-future-of-web-archives-conclusions-and-the-role-of-archives/
This short post points out three roles of web archives: preservation, research and authentication. "A final emerging use of archives is as an authentication service. Web data is highly mutable, changing constantly, and there is no way to authenticate whether the page I see today is the same as what I saw yesterday, especially if the change is a small one."

http://www.anthropology-news.org/index.php/2012/05/01/sonic-ethnography-as-method-and-in-practice/
"Reflecting contemporary ethnographic research practices, sonic ethnography involves the interpretation and translation of local actors' meanings. As such, this methodology can be understood as an effort to make sense of people's ways of knowing and being, understandings that are sensual in terms of their signification, sensation, and processes (Gregg and Seigworth 2010; Howes 2003; Stoller 1997)."

http://mediacommons.futureofthebook.org/imr/2009/05/06/indigenous-cinema-and-visual-languages-why-should-we-be-teaching-these-films
I am interested in how several of these films use archival footage and new footage to create a story. Part of our discussions in class has centered on how digital is creating new access to archival materials.

http://murmurtoronto.ca/about.php
This is an interesting project to think about if you are imaging how to re-present your research to a community you have been working in. I would be interested to hear ideas from people in the class who have experience with interactive museum exhibits and how this might inform a project like this.

Came across this while accessing the Howard article and it looked interesting. (http://web.ebscohost.com.libproxy.uoregon.edu/ehost/pdfviewer/pdfviewer?sid=8e95de21-8cc7-4252-b285-a377a71d7e3d%40sessionmgr13&vid=2&hid=14)

Abstract: "This theoretical investigation explores how ethereal locations have become increasingly
inhabitable through mobile telephony. Residue of the occupation of these ethereal places
is found in the form of mobile data, traces of the mobile user's fantasy of connection with
the other. Drawing from an interdisciplinary body of theory and research, we
demonstrate how new forms of access to ethereal locations have emerged which allow
for modifications to the positioning of self, other, subject, and thing. Central to this
phenomenon is the shifting away from optical discernment to an alternate employment
of vision. This paper demonstrates how the process of mediation afforded by mobile
communication blurs these divisions and encourages the extension of self into new
contexts. The utilization of mobile data facilitates these alterations which allows for the
user to occupy ethereal places and to enact subjectivity differently."

Abstract: "From wikis to blogs, new participatory forms of web-based communication are
increasingly common ways for institutions and individuals to communicate. The content
these forms produce incorporates elements of both institutional and non-institutional
discourse. More than a syncretic pastiche, this content is the product of hybrid agencies
made possible by these new forms. Terming this content ''vernacular'' acknowledges that
this hybridity frustrates any reified conception of pure or authentic non-institutional
discourse. At the same time, the theory of a ''vernacular web'' attends to the complex new
transformational possibilities of participatory media seem to offer individuals.''

I have not had the chance to read this yet, but it might be useful for us.
http://www.culturemachine.net/index.php/cm/article/view/81/68

In general this forum might be a good place to look for interesting articles. (http://www.culturemachine.net/index.php/cm/issue/current)

This is a project folklorist Tim Tangherlini works on. He discussed it during his keynote talk at Western States Folklore Conference this past weekend. http://www.arcgis.com/home/item.html?id=3a91984356c447a29feba5f8e5362945

This resource is supposed to solve the problem of how to read a folklore corpus with both the possibility of a "distant reading" and a "close reading." In a handout accompanying the lecture he outlines some questions this resource is supposed to ask/answer. They are as follows. "How does one define the research domain? How does one manage the research collection? How does on discover meaningful patterns in the material? And how can one analyze individual expressions in the context of that broader viewer?"

I have a PDF of this which I can share with the class, but not post online, if we should decide we are interested in reading it.