Soyini Madison, Critical Ethnography: Method, Ethics, and Performance, 2005
Chapter to of Madison’s, Critical Ethnography: Method, Ethics, and Performance is an examination and guide for ethnographic field research. The introduction to the chapter is in understanding the “turf war” to the mythology of fieldwork; as in the fundamental conceptual nature of ethnography. As one side focusing of different attributions to fieldwork; matter of theory, subjectivity, and cultural understanding. The second identity being of precision, validation, evidence. The exemplifying quote being, ‘Sometimes theory obstructs method and sometimes method is theory.” It’s better to understand the inter-related roles of method and theory with several attached principles such as above.
The aim of the chapter is in understanding, “What is Ethnographic Method,” which the material of the text being presented in a practical manner. The first sub-header of, “Who am I,” advocates for start the research design in an inter-reflective perspective, as in, understanding and probing the self and ones society can lead to finding a research topic. Once a topic is selected the further move being of inquiring into interrelated material on the said topic; other text, media, news, etc. I would consider the inherit summary of the following text is for the advocacy of fluidity in research design and questioning. Allowing your line of questioning to evolve and backtracking of the original design as fundamentals to laying research purpose.
Interviewing and field techniques should be considered precise and predetermined for the subject while drawing from research design, yet allow for abstract response for possibility of other outlets of research or questioning ideas. In formulating questions the author relays the two classical models of quantitative researching; the patton model of using sensory, behavioral, and
opinion questioning styles; and the Spradley model of using descriptive, experience, and contrasting questioning.
The just of the rest of the article is further examination of ethnographic procedure. I think the central pull from the piece is understanding a personal reflective stance when engaging with ethnographic work, especially in the level of immersing research is willing to go. My personal projection advocates for the advancement of full immersion into fieldwork. That the most pure form of reflective ethnographic learning is to maintain relationships are a attribute of gaining entry into subject matter. Full immersion blurs the line between professional academic work and reality, more so to me, it breaks more of a, “barrier” allowing for full engage of reality and evens the roles presented in ethnographic research.
Summers, The Work of Art in the World Civic is an examination of the social discourse present in art and urban renewal. The current role of art revitalization is progressing toward harmonization however there is a contrast in the art world to ignore censorship of official interests. This questions to role of government in the art world as a producer. The author frames the grassroots possibilities in government role as citizens lean the production through, “transparent leadership,” to avoid cultural revolution or revolt against governmental power
The actions of governments in countries like Columbia, Albania, Mexico, and the U.S (namely in the New Deal), lead in positive and creative government intervention, or in the role of Anatas Mockus, Mayor of Bogota, who neglected credit in leadership and yield to a “developed collective leadership.” Taking to a, “citzens – as – artist” approach as Mockus did, allowed for a collective connections to the millions responsible for the art works and urban revitalization. The final thing to consider is the societal tolerance, namely governmental, into innovating art world for cities. The overall aim is to create more productive and creativity citizens for evolving sectors however what is the role when public artworks fill a role into government opposition.
D. Soyini Madison. Critical Ethnography: Method, Ethics, and Performance (second edition). Los Angeles: Sage Publications, 2012. Chapter 2
Doris Sommer. The Work of Art in the World: Civic Agency and Public Humanities. Durham,NC: Duke University Press, 2014. Prologue and Chapter 1