Search results

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.

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.

The purpose of this editorial is to introduce six audio‐visual and written pieces that communicate research findings about contemporary popular culture.

The paper provides a summary overview of the papers in the special issue, highlighting similarities across submissions as well their distinctive contributions.

The authors conclude that researchers apply audio‐visual material to communicate their research findings in at least two ways: as stand‐alones to convey key messages; and to validate and/or dramatize highlights of their written work.

The paper provides an introduction to a special issue that features the application of multi‐media to communicate research findings associated with contemporary popular culture.

The purpose of this paper is to introduce the unique artistic approach of film-maker Werner Herzog as an inspiration to rethink ethnographic studies in general and the notion of reflexivity in particular.

This paper reviews the particularities of Werner Herzog’s approach to filmmaking, linking them to the methodological tradition of visual ethnography and especially the debate about the role of reflexivity and performativity in research.

Herzog’s conceptualization of meaning as “ecstatic truth” offers an avenue for visual organizational ethnographers to rethink reflexivity and performativity, reframe research findings and reorganize research activities. The combination of multiple media and the strong authorial involvement exhibited in Herzog’s work, can inspire and guide the development of “meaningful” organizational ethnographies.

The paper argues that practicing visual organizational ethnography “after Herzog” offers researchers an avenue to engage creatively with their research in novel and highly reflexive ways. It offers a different way to think through some of the challenges often associated with ethnographic research.

This paper aims to explore how critical digital and data literacies are facilitated by testing different methods in the classroom, with the ambition to find a pedagogical framework for prompting sustained critical literacies.

This contribution draws on a 10-year set of critical pedagogy experiments conducted in Denmark, USA and Italy, and engaging more than 1,500 young adults. Multi-method pedagogical design trains students to conduct self-oriented guided autoethnography, situational analysis, allegorical mapping, and critical infrastructure analysis.

The techniques of guided autoethnography for facilitating sustained data literacy rely on inviting multiple iterations of self-analysis through sequential prompts, whereby students move through stages of observation, critical thinking, critical theory-informed critique around the lived experience of hegemonic data and artificial intelligence (AI) infrastructures.

Critical digital/data literacy researchers should continue to test models for building sustained critique that not only facilitate changes in behavior over time but also facilitate citizen social science, whereby participants use these autoethnographic techniques with friends and families to build locally relevant critique of the hegemonic power of data/AI infrastructures.

The proposed literacy model adopts a critical theory stance and shows the value of using multiple modes of intervention at micro and macro levels to prompt self-analysis and meta-level reflexivity for learners. This framework places critical theory at the center of the pedagogy to spark more radical stances, which is contended to be an essential step in moving students from attitudinal change to behavioral change.

The purpose of this paper is to develop videographic methods for the study of alternative entrepreneurship, with a theoretical focus on “ethical uncertainties”, exemplified in this paper by the exploration of evolving actions and unpredictable outcomes in a specific case, the Hungarian company Prezi.

By first situating Prezi’s alternative entrepreneurship in the turbulent Hungarian political context and situation for the Roma population, this study presents how the methodological foundations of organizational videography have affirmed aesthetic immersion, which is of particular use for the study of ethical uncertainty.

Following a methodological exploration of the specific research design and ethnographic reflections on three ways in which ethical uncertainties arise, this study discusses the videographic possibilities to study something as elusive as ethical uncertainty and its link to alternative futures.

The political context in Hungary poses many challenges for organizations that attempt to “do good” and create alternative futures. This paper explains how this political context permeates Prezi’s entrepreneurship and research thereof, by highlighting “ethical uncertainty”. The combined contribution (paper and videography) invites the reader to think differently about the authority of research, become a viewer and reflect on their own experiences of ethical uncertainty in alternative entrepreneurship.

The study directs attention to the psychological conditions experienced and knowledge management practices leveraged by faculty in higher education institutes (HEIs) to cope with the shift to emergency remote teaching caused by the COVID-19 pandemic. By focusing attention on faculty experiences during this transition, this study aims to examine an under-investigated effect of the pandemic in the Indian context.

Interpretative phenomenological analysis is used to analyze the data gathered in two waves through 40 in-depth interviews with 20 faculty members based in India over a year. The data were analyzed deductively using Kahn’s framework of engagement and robust coding protocols.

Eight subthemes across three psychological conditions (meaningfulness, availability and safety) were developed to discourse faculty experiences and challenges with emergency remote teaching related to their learning, identity, leveraged resources and support received from their employing educational institutes. The findings also present the coping strategies and knowledge management-related practices that the faculty used to adjust to each discussed challenge.

The study uses a longitudinal design and phenomenology as the analytical method, which offers a significant methodological contribution to the extant literature. Further, the study’s use of Kahn’s model to examine the faculty members’ transitions to emergency remote teaching in India offers novel insights into the COVID-19 pandemic’s effect on educational institutes in an under-investigated context.

This paper aims to use a video‐taped fragment of conduct and interaction in a museum to illustrate the analysis of visitors' interactionally produced response to works of art.

The method draws on ethnomethodology and conversation analysis to investigate the social and sequential organisation of people's action and interaction. The fragment discussed as part of this paper sheds light on the social and interactional production of people's response to and experience of exhibits.

The detailed analysis of one video‐fragment illustrates how the analysis progresses from an inspection of the sequential organisation of talk to an examination of the sequential organisation of verbal, visual and bodily conduct. The analysis also makes a small substantive contribution to current debates on people's experience of artwork in museums. In particular, the findings suggest that the experience of works of art is not a subjective and cognitive response to the objects, but arises in and through socially organised, embodied practices at the exhibit‐face.

The paper discusses an innovative way to analyze video‐data, and makes a contribution to the growing body of research in arts marketing and museum marketing on the exhibition floor.

This study aims to investigate the integration of smart contracts into the legal framework of Saudi Arabia, spotlighting the pivotal role of blockchain technology in revolutionizing contractual processes. It evaluates the capacity of smart contracts to enhance the efficiency, security and transparency of legal transactions, while critically examining the legal challenges their adoption presents.

Through qualitative analysis, this research explores the operational dynamics of smart contracts, with a focus on their autonomous execution and the digital codification of contractual terms. It scrutinizes the alignment of smart contracts with the Saudi legal system, concentrating on pivotal issues such as the establishment of mutual consent, the verification of contracting parties’ capacity and adherence to conventional legal doctrines.

This study uncovers the transformative potential of smart contracts in redefining the execution of contracts, highlighting their advantages in streamlining transactions and enhancing contractual reliability. However, it also identifies significant obstacles in the path of their full integration into Saudi Arabia’s legal landscape, notably the challenge of reconciling smart contracts’ technology-driven operations with established legal norms and rectifying potential legal inconsistencies.

Offering fresh perspectives on the confluence of technology and law, this paper illuminates the complex task of implementing smart contracts within a legal framework that is in the process of adapting to digital innovation. It advocates for a sophisticated strategy of regulatory adjustment that promotes the legal system's evolution alongside technological progress, ensuring the effective and legally sound utilization of smart contracts.