Ethnographic Research

This chapter considers some of the essential features of ethnography as a qualitative method. The main theoretical foundations of ethnographic approach are explained; however, the emphasis is mainly on how ethnography is done. Thus, the techniques for collecting data used by ethnographers take the central part of this chapter with some special attention to the methodology of observation. Through many examples, the authors describe the various forms of observation as a social research method. It is useful to illustrate the approach of the ethnographer through the metaphor of the “stranger” because “reflexivity” is an important part of the qualitative approach of ethnography. The practicalities of recording the field research and writing memos are fully considered in conjunction with practical suggestions and conceptual discussion, including the writing up of the final text which should be the conclusion of a consequential process, rather than a separate entity.

Behavioural Impact of a Calming Herbal Supplement Fed to Hounds

The growing pet food market for feed supplements offering behavioural support has led to an increase in popularity of use, often without sufficient evidence to support claims. In particular, it is questionable whether various “calming” herbs and herbal blends are truly providing the desired outcomes. This study investigated whether a calming herbal nutraceutical for dogs had an impact on canine behaviour and to what effect. Thirty male English Foxhounds, Canis lupus familiaris, were fed the nutraceutical daily for four weeks following a control period. Overnight behavioural observations from video footage were carried out using scan sampling at sixty second intervals for six-hour periods daily, both in the control week and week four of the feeding trial. Stranger approach tests were also performed during these weeks on three separate occasions. Observation data were analysed using the paired t-test or Wilcoxon signed rank test. The paired t-test indicated a significant reduction in agonistic interactions, play, autogrooming, locomotion and stretching within the group. The stranger approach tests showed a significant increase in the number of hounds approaching the stranger, moving away, lying, standing, and sitting during the trial week, and a significant decrease in instances of hounds resting. Reduction in group agonistic and play interactions overnight suggests signs of a “calmer” pack. Increase in rest overnight may have impacted daytime behaviours, specifically in response to the stranger approach test. The results warrant further investigation of calming herbal nutraceuticals and their potential value as a tool in a holistic approach to managing canine behaviour.

Secure base effect in former shelter dogs and other family dogs: Strangers do not provide security in a problem-solving task

Domestic dogs display behavioural patterns towards their owners that fulfil the four criteria of attachment. As such, they use their owners as a secure base, exploring the environment and manipulating objects more when accompanied by their owners than when alone. Although there are some indications that owners serve as a better secure base than other human beings, the evidence regarding a strong owner-stranger differentiation in a manipulative context is not straightforward. In the present study, we conducted two experiments in which pet dogs were tested in an object-manipulation task in the presence of the owner and of a stranger, varying how the human partner would behave (i.e. remaining silent or encouraging the dog, Experiment 1), and when alone (Experiment 2). Further, to gain a better insight into the mechanisms behind a potential owner-stranger differentiation, we investigated the effect of dogs’ previous life history (i.e. having lived in a shelter or having lived in the same household since puppyhood). Overall, we found that strangers do not provide a secure base effect and that former shelter dogs show a stronger owner-stranger differentiation than other family dogs. As former shelter dogs show more behavioural signs correlated with anxiety towards the novel environment and the stranger, we concluded that having been re-homed does not necessarily affect the likelihood of forming a secure bond with the new owner but might have an impact on how dogs interact with novel stimuli, including unfamiliar humans. These results confirm the owner’s unique role in providing security to their dogs and have practical implications for the bond formation in pet dogs with a past in a shelter.

Locating an efficacy of the humane time in Ray’s Agantuk: a travel beyond the object

The ontology of time and space has always been a subject of materialist prospectus bearing a halo effect of ‘modernity’ and ‘progress’. The enquiry into the sign of modern is a mechanical category of production where substantial copies of ‘progress’ have religiously been equated with a break from the past. This breaking away from the centre (soul) is, of course, associated with a desire for the non-native design. Simultaneously, the past becomes historicized as primitive dangers while the present/‘modern’ morphs into a non-past spectacular diffusion. Satyajit Ray reloads his artillery of the cerebral one last time in his masterpiece titled, Agantuk (The Stranger), where he pits the idea of a spectral past having an agency to redo the class binary against the totalitarian time(s) in a modern urban space which prides itself on the abuse of power-as-civility. Ray introduces a nuclear family of three (a married couple and their son) where the protagonist, Manmohan Mitra, returns as an archived data in the body of a forgotten relative. His entry into the house ruptures the canny knots of the ‘home’ where the director exposes limits of the modernized time. This paper tries to analyze how Ray uses the motif of ‘travel’ in its cinematic cloth to critique the ingestion of global progress as nothing but an accumulation of fallen spectacles that commodify both a subject who is consuming the object-in-time (progress) and also the object that is all the time getting alienated from its own subjective merit. Mitra becomes the mouthpiece of the director for conveying the paradoxes of time-as-capital in the burgeoning of speculative modernity.

Policing (as) the Paradigmatic Scene of Rape

A queer renovation of “rape” requires beginning not with actors, but with acts, which brings into view the central role of the state as a perpetrator of sexual violence. Radical feminists moved the “paradigmatic scene” of rape from the stranger in the alley to the acquaintance in the bedroom: rape was a problem not of exceptional perversion, but of ordinary heterosexuality. The works surveyed in this essay center the scene of state detention, showing how regimes of policing in a racial capitalist state always frame and prototype sexual violence. The author pursues this argument in three passes: history (the discourse around Michel Foucault’s treatment of the Charles Jouy case), aesthetics (the conflation of state and domestic violence in the installations of Palestinian artist Mona Hatoum), and activism (the convergence of abolitionist and antirape movements in the 1970s writings of Angela Davis and the memoirs of the Scottsboro Boys).

The Stranger

<p>How can humanity possibly become sustainable in the future if we cannot think or plan sustainably in the present? This project aims to challenge people’s current thinking, raising awareness that the issue of sustainability will not be resolved without a significant cultural shift in our relationship with our world’s environmental systems. The thesis addresses this through an architectural narrative conceived to enhance the viewer’s awareness of how our interdependent relationship with machines and industry has led to this dire situation. Prior to the Industrial Revolution the environment could regenerate and recover faster than humanity could destroy it. With the advent of the Industrial Revolution this changed and environmental degradation has rapidly increased out of control. The result is that today we need to evolve and change our thinking rather than be limited by our tools if we are to be sustainable. It is this at present unsustainable relationship between mechanical industry and human behaviour that this thesis exposes through speculative architecture. The investigation explores how architectural allegory can be an effective way of conveying a message with multiple layers of interpretation and meaning - a message capable of addressing important environmental, political, economic and social issues. The title of the thesis is taken from Albert Camus’s novel l’Étranger (The Stranger) as well as Georg Simmel’s essay “The Stranger”, which was written as an excursus to a chapter dealing with sociology of space in his book Soziologie. In this thesis, as an architectural allegory, the Stranger’s architectural habitat is composed of a myriad of integrated machines that symbolise our time and place identity: a Theodolite that surveys the land; a Clock that keeps the time; a Loom that reflects the folklore of fate; a Compass that represents direction, and a Camera Obscura through which the Stranger views his/her surroundings. The Stranger lives in the Camera Obscura, a compartment with a periscopic lens focused across the Cook Strait to South Island. When (s)he activates the Loom, it pulls the living compartment along tracks toward the core, where (s)he descends into the central volume of the Theodolite. A Compass on the top of the structure points towards landmarks across the Cook Strait while the mechanical workings are inspired by the internals of a mechanical Clock. The overall programme for the thesis investigation is an Aquaponics Lab, a self-contained environment that grows marine life in an aquaculture system, using their waste to fertilise plant life in a hydroponic system, and using their nutrients in turn to feed the marine life. The flora and fauna continually sustain one another in an eternal cycle - the machines replicating a perfect natural system. The thesis takes the form of a day in the life of the Stranger. The reader witnesses the sequential daily rituals of the Stranger as (s)he moves through the machines from sunrise to sunset.</p>

The Stranger

<p>How can humanity possibly become sustainable in the future if we cannot think or plan sustainably in the present? This project aims to challenge people’s current thinking, raising awareness that the issue of sustainability will not be resolved without a significant cultural shift in our relationship with our world’s environmental systems. The thesis addresses this through an architectural narrative conceived to enhance the viewer’s awareness of how our interdependent relationship with machines and industry has led to this dire situation. Prior to the Industrial Revolution the environment could regenerate and recover faster than humanity could destroy it. With the advent of the Industrial Revolution this changed and environmental degradation has rapidly increased out of control. The result is that today we need to evolve and change our thinking rather than be limited by our tools if we are to be sustainable. It is this at present unsustainable relationship between mechanical industry and human behaviour that this thesis exposes through speculative architecture. The investigation explores how architectural allegory can be an effective way of conveying a message with multiple layers of interpretation and meaning - a message capable of addressing important environmental, political, economic and social issues. The title of the thesis is taken from Albert Camus’s novel l’Étranger (The Stranger) as well as Georg Simmel’s essay “The Stranger”, which was written as an excursus to a chapter dealing with sociology of space in his book Soziologie. In this thesis, as an architectural allegory, the Stranger’s architectural habitat is composed of a myriad of integrated machines that symbolise our time and place identity: a Theodolite that surveys the land; a Clock that keeps the time; a Loom that reflects the folklore of fate; a Compass that represents direction, and a Camera Obscura through which the Stranger views his/her surroundings. The Stranger lives in the Camera Obscura, a compartment with a periscopic lens focused across the Cook Strait to South Island. When (s)he activates the Loom, it pulls the living compartment along tracks toward the core, where (s)he descends into the central volume of the Theodolite. A Compass on the top of the structure points towards landmarks across the Cook Strait while the mechanical workings are inspired by the internals of a mechanical Clock. The overall programme for the thesis investigation is an Aquaponics Lab, a self-contained environment that grows marine life in an aquaculture system, using their waste to fertilise plant life in a hydroponic system, and using their nutrients in turn to feed the marine life. The flora and fauna continually sustain one another in an eternal cycle - the machines replicating a perfect natural system. The thesis takes the form of a day in the life of the Stranger. The reader witnesses the sequential daily rituals of the Stranger as (s)he moves through the machines from sunrise to sunset.</p>