Just who is the ‘analyst’ who practices rhythmanalysis? The extension of the name ‘rhythmanalyst’ to other than scholarly practitioners makes possible an investigation of the…
Abstract
Just who is the ‘analyst’ who practices rhythmanalysis? The extension of the name ‘rhythmanalyst’ to other than scholarly practitioners makes possible an investigation of the relationship of rhythmanalysis to other rhythmanalytic forms of knowing and representing urban space and the ways in which these differing but related practices may challenge, undermine or inform each other. In this paper, drawing on years of ethnographic and autoethnographic research in three North American cities, I discuss the rhythmanalytical practice involved in cabdriving, as this is shaped by the technologies drivers use to sense the city and by the transformation of the taxicab into the ‘ridesharing’ or soft cab. First, I discuss the occupational knowledge and wayfinding practice of cabdrivers and the extent to which their work requires the development by means of a variety of tools and practices, of a sense of the city as composed of multiple interacting rhythmic movements or polyrhythmia, with which they must strategically converge and facilitate. Second, I discuss the redelegation of the role of rhythmanalyst to predictive algorithms and mobile interfaces, as part of the reinvention of the taxicab, and its associated micropolitics and power/knowledge relations, by smartphone-enabled hailing and dispatching services. Struggles over, and transformations of, these non-academic forms of rhythmanalysis may provide insight, in turn, into the contemporary politics of the production of social space.
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This chapter asks: ‘How often do we as social scientists question the validity of our theories and our findings? How often do we reflexively examine the distortions in the lenses…
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This chapter asks: ‘How often do we as social scientists question the validity of our theories and our findings? How often do we reflexively examine the distortions in the lenses we use to analyse organizations? ‘It proceeds to answer these questions by defining reflexivity and presenting six perspectives on reflexive analysis that build on and extend previous analytical treatments of reflexivity, especially that by Alvesson, Hardy, and Harley (2008). Illustrations of the six are drawn from my own experiences as well as those of other scholars. The intention is to stimulate greater interest in reflexivity and provoke other scholars to look more reflexively at their own work.
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Poses the question of how to manage disorder, upheaval, revolution,transformation and chaos. When creativity and specialized work practicesare involved, there is persuasive…
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Poses the question of how to manage disorder, upheaval, revolution, transformation and chaos. When creativity and specialized work practices are involved, there is persuasive evidence for managers to stay out of the way. Such advice sounds like a paradoxical injunction, probably because it is: manage by not managing! Trapped “inside” this paradox, the distinctions between control and power become crucial.
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This chapter reflects on a media studies project exploring Sylvia Plath poetry on Tumblr. The project ultimately resulted in excess digital data, with no conventional publications…
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This chapter reflects on a media studies project exploring Sylvia Plath poetry on Tumblr. The project ultimately resulted in excess digital data, with no conventional publications or research outputs. Now writing 10 years after data collection, I take a storying approach to explore the original research concerns and the research process, thereby locating a reconfigured ‘research event’ that draws together various biographical, social, political and historical factors. I reflect on my evolving understanding of ‘research’, discussing early teaching experiences and postgraduate pathways that partly structured a particular relationship to research. This serves to bridge a discussion about the challenges of the initial process over a decade ago, including the uncomfortable pairing of inexperience among aspiring researchers and institutional pressures to publish. I then discuss the theoretical perspectives that inspire and, in retrospect, offer clarity for the project, given the amount of time passed since data collection and the synergistic relationship between the storying approach, poststructuralist thought and story-focused methodologies. I argue that Tumblr provides unique opportunities for identity negotiation, aesthetic appreciation, data extraction and commodification, which highlights both the creative agency of digital aesthetic curation and self-work, as well as the importance of algorithmic transparency. I also contend that engaging with excess data led to methodologically and theoretically useful insights, challenging assumptions about the temporality of usable data and the ever-changing relationship between art, technology and freedom.