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This paper aims to analyse the university experience of a social laboratory that mixes science and art to instruct communities of sustainability practice in heterogeneous contexts through interpretive audio-visual ethnography and cinematographic language.

The research approach was qualitative; data were triangulated through the thorough revision of the literature reported on this praxis, the auto-ethnography of the founder and CEO of this social laboratory and the systematization of the training categories from their documentaries. Furthermore, the analysis of this laboratory as a social innovation considered five categories, namely, critical interaction, shared values, social responsibility, digital competences and sustainability practices, and the projects profile was contrasted with the Sustainable Development Goals to show its sustainable approach.

The results showed that the best scored sustainability university communities are interdisciplinary. Moreover, the mix of science and art to train practice communities is a social innovation model that can go beyond university walls to influence its environment in dissimilar and socially disadvantaged territories.

This research is based on a case from a Mexican university in a specific cultural context. Although the conclusions cannot be generalized, this case contributes to the need for pertinent complementarity between various classical methodological possibilities which, when articulated, enhance the research work.

The results could have practical implications if these are used as inputs in the development of university programmes with an interdisciplinary approach to sustainability training.

This research proposes this experience as an attempt to understand how to promote sustainable education among university communities that influence territories with wide social gaps.

This paper and video aim to present findings of an investigation into the consumption of weeklong music camps for adults.

Video‐ethnography is an emerging research technique in marketing academe. The technique derives from the ethnographic tradition in anthropology and incorporates a blend of participant observer and thick description interview techniques. The video evidence does not replace field notes. Rather the video evidence contributes strongly to an edited deliverable that complements and in some instances substitutes for a traditional manuscript.

Participants spend hundreds, sometimes thousands of dollars purchasing a week of music classes, concerts and jam sessions located in campus‐like venues, often rural and remote and without many of the comforts of home. Three strong themes emerged from the observations and interviews. Consumer immersion in a musical enclave for a week to develop their musicianship is the first theme. The second theme intertwines the third: a sense of the liminoid in which a personal transition or transformation occurs; and the emergence of communitas, in which community ties strengthen as a consequence of experiencing these transitions within a group.

The video ethnography is remarkable because music camp organizers forbid filming. Indeed, for the first time in the history of this music camp (of 16 years standing at the time of the research), filming occurred in the camp. After a while, the presence of the researcher videographer appeared to go unnoticed by participants, arguably becoming an integral part of the music camp experience.

Little research has been done about the consumption of music camps. This written and audio‐visual ethnography addresses this gap in knowledge.

The purpose of this paper is to investigate the reasons that tourists capture images of their trips on cameras or camcorders.

Over a period of approximately five years, the authors observed, photographed and interviewed tourists taking photos or videos in diverse international locations. Upon returning home, informants e‐mailed their trip photos together with descriptions of what the images meant and what they had done with them when at home. These data were archived and interpreted in line with the central research questions.

Why does almost every tourist carry a camera or camcorder? What are they doing making these images? And what do they do with them once they return home? The accompanying video conveys most of the findings, while the manuscript elaborates on certain theoretical points and provides contextualizing and supportive evidence from the literatures dealing with tourism and photography.

The paper suggests that the images form part of an identity project, serving as a means of conveying internal tales to the self rather than as a means of, beyond the immediate family, communicating with others. The images act as tools for displacing meanings that are too fragile and tenuous to be contained in the fragile present as Grant McCracken describes more generally with regard to tying hopes and dreams to places and times of the past and future.

Following the lead of neighboring fields such as strategy and organization studies, entrepreneurship is gradually joining in the adoption of a practice perspective. Entrepreneurship as practice (EaP) is thus a nascent domain of investigation where the methodological debate is still unsettled and very fluid. In this paper, the authors contribute to this debate with a focus on family entrepreneurship.

The authors develop a conceptual paper to discuss what it entails to look at family entrepreneurship through a practice lens and why it is fruitful. Moreover, the authors propose a research strategy novel to the field through which such investigation can be pursued, namely process tracing, and examine its inferential logic.

Process tracing is a strategy of data analysis underpinned by an ontology of causal mechanisms. The authors argue that it complements other practice methods by inferring social mechanisms from empirical evidence and thereby establishing a connection between praxis, practices and practitioners.

Process tracing helps the articulation of an “integrated model” of practice that relates praxis, practices and practitioners to the outcome they jointly produce. By enabling the assessment of impact, process tracing helps providing prima facie evidentiary grounds for policy action and intervention.

Process tracing affinity with the practice perspective has been so far acknowledged only to a limited extent in the social sciences, and it is, in fact, a novel research strategy for the family entrepreneurship field.

Increasing complexity, fragmentation, mobility, pace, and technological intermediation of organizational life make “being there” increasingly difficult. Where do ethnographers have to be, when, for how long, and with whom to “be there” and grasp the practices, norms, and values that make the situation meaningful to natives? These novel complexities call for new forms of organizational ethnography. The purpose of this paper is to discuss the above issues.

In this paper, the authors respond to these calls for innovative ethnographic methods in two ways. First, the paper reports on the practices and ethnographic experiences of conducting a year-long team-based video ethnography of reinsurance trading in London.

Second, drawing on these experiences, the paper proposes a framework for systematizing new approaches to organizational ethnography and visualizing the ways in which they are “expanding” ethnography as it was traditionally practiced.

The paper contributes to the ethnographic literature in three ways: first, the paper develops a framework for charting new approaches to ethnography and highlight its different dimensions – site, instrument, and fieldworker. Second, the paper outlines the opportunities and challenges associated with these expansions, specifically with regard to research design, analytical rigour, and communication of results. Third, drawing on the previous two contributions, the paper highlights configurations of methodological expansions on the aforementioned dimensions that are more promising than others in leveraging new technologies and approaches to claim new territory for organizational ethnography and enhance its relevance for understanding today's multifarious organizational realities.

The purpose of this paper is to explain how audio‐visual archetypal representations likely to engender emotional identification and consumer‐inquisitiveness by marketing professionals can be constructed.

The paper employs video‐ethnography involving the following steps: development of a typology of consumer archetypes based on a priori theory, screening for and identifying informants to exemplify each archetype, filming interviews in and around their homes, developing realistic audio‐visual representations of each archetype and assessing marketing practitioners reactions to the audio‐visual representations.

In response to the audio‐visual archetypal representations, marketing practitioners displayed a high degree of interest and emotional relatedness. The interest generated in the screenings motivated animated discussion and often a desire to better understand the consumers represented by each archetype. These heightened reactions contrast strongly with the relatively emotionally flat responses to traditional marketing research reports.

The paper demonstrates that carefully crafted audio‐visual representations of consumer archetypes are likely to engender a consumer orientation in marketing professionals and hence associate with improved marketing decision‐making. It explains that this situation is likely explained by audio‐visual media's superior capacity to foster experiential, emotional knowledge of others, and, the origins of consumer archetypes in the collective un/consciousness and/or widespread strongly embedded cultural beliefs, norms, and values.

This paper aims to reinforce the significance of visual ethnography as a tool for mental health promotion.

Visual ethnography has become an established methodology particularly in qualitative studies, to understand specific themes within participants’ everyday realities. Beyond providing a visual element, such methods allow for meaningful and nuanced explorations of sensitive themes, allowing richer sets of data to emerge rather than focussing on conversations alone. The participants in this study evaluated how far they had come by exploring complex circumstances using visual ethnographic means.

Research with single refugee women in Brisbane, Australia, demonstrates how discussing photographs and creating digital movies yielded a sense of achievement, pride and accomplishment, health and wellbeing, and ownership for some women, while for others it was a burden.

Studies with single refugee women have been scarce with limited use of visual ethnographic methods. Visual ethnography is particularly suited to understanding refugee narratives, as complex experiences are not always conveyed through textual representations alone.

The present chapter explores the topic of death in the context of contemporary New Delhi, India. Building upon what I chose to call an ‘expanded ethnography’, it explores the multiple ways in which sensory, visual and digital mediations and tools can help researchers address such an existentially delicate topic. Building on a mix of online visual ethnography (of computer screens and smartphones), of bodily/sensory practices, of sound recording and image-making, my research focussed on retirement homes and shelters amidst a bulging Indian metropolis. I engaged with subjects who, because of personal choices or family difficulties, have ended up finishing their lives in solitude amidst a city forced to co-live with the presence of death. Alternating between photographic portraits, filmic observations and moments of playful exchanges in front of a camera (with me as one of the objects portrayed) my method capitalizes upon the integration (and problematisation) of bodily (sensory and affective) as well as digital techniques. All together these different mediations have granted me access to different layers of connection to the topic of death in Delhi and also to my ageing guides/interlocutors.