{"title":"Improvising with digital touch","authors":"Katherine Rees","doi":"10.1177/26349795221111279","DOIUrl":"https://doi.org/10.1177/26349795221111279","url":null,"abstract":"This research is concerned with the use of wearable technology in the process of improvising and how the partnership of the body and technology influences the kinaesthetic awareness of the dancer/choreographer. The project sought to produce a prototype that made touch contact with the skin via patterns of vibration effects. This was achieved by creating a circuit with a haptic motor controller, microprocessor, vibration motor and battery. Contained in two bracelets, the technology was used in a series of workshops enabling participants to explore passive digital touch as stimuli for creative movement. By implementing embodied methods to gather qualitative data, I was able to combine my own embodied participation with movement analysis (Laban Movement Analysis) and the participants’ perceptions of the experience. Codes identified from the transcribed interviews and fieldnotes were collated into a matrix with the movement analysis and then thematically analysed, revealing that the experience of repeated touch stimuli marked the continuum of consciousness and facilitated a reference point, creating a heightened awareness or foci for the moving body. I propose that this process disrupts the boundary of the body and plays a significant role in recalibrating the dancers’ kinaesthesia.","PeriodicalId":134431,"journal":{"name":"Multimodality & Society","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134114398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Roger & Out (a poem in two parts)","authors":"H. Schwartz","doi":"10.1177/26349795221110877","DOIUrl":"https://doi.org/10.1177/26349795221110877","url":null,"abstract":"A poem concerning the haptic indices and aftermaths of death and memory, for a special issue on Touch.","PeriodicalId":134431,"journal":{"name":"Multimodality & Society","volume":"69 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124103860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Where the touching is touched: The role of haptic attentive unity in the dialogue between maker and material","authors":"L. Malafouris, M. Koukouti","doi":"10.1177/26349795221109231","DOIUrl":"https://doi.org/10.1177/26349795221109231","url":null,"abstract":"This paper, drawing on research from the ‘HANDMADE - Understanding Creative Gesture in Pottery Making’ project (sponsored by the ERC), will attempt to show how a focus on the temporality of touch and the tactility of making can help us disambiguate the often discussed, but little understood, dialogue between maker and material. Our main thesis is that with increasing levels of skill, tactile perception plays an active role in transforming a mere kinetic interaction (where potter and clay are causally coupled) into a multi-modal kinaesthetic transaction (where the potter becomes attentive to the expressive affordances of clay and recursively the clay becomes responsive to the creative affordances of the potter’s hand). We call this situational attunement between the potter and clay haptic attentive unity (HAU). The primary objective of this paper is to explore the links between touch and attentive engagement in the context of pottery making and use the notion of HAU to account for the dialogic character of creative material engagement.","PeriodicalId":134431,"journal":{"name":"Multimodality & Society","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131183577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Touch and translanguaging in a multilingual early childhood education setting","authors":"Robin Samuelsson","doi":"10.1177/26349795221109355","DOIUrl":"https://doi.org/10.1177/26349795221109355","url":null,"abstract":"Many children grow up in multilingual communities characterised by linguistic heterogeneity and semiotic and cultural complexity. Translanguaging theory has provided a perspective attuned to communication and education in multilingual settings. However, translanguaging pedagogies have not yet had a broad uptake in early educational settings. The recent interest in embodiment within translanguaging studies and the study of touch combinedly provide a potential perspective for early childhood education. This study examines the role of touch in a multilingual preschool featuring 2-year-olds. The results point to two key functions for touch. One is that touch creates a shared experiential ground where languages can be learned. The other function is that touch allows children to sensorially explore and learn multicultural experiences from the diverse cultural and linguistic systems available. Based on the results, the role of touch in early childhood translanguaging is discussed as a way forward for translanguaging pedagogies for creating both equitable and diverse educational opportunities for children in multicultural and multilingual communities.","PeriodicalId":134431,"journal":{"name":"Multimodality & Society","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116886795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Observing, recording, visualising and interpreting visitors’ movement patterns in art museums: A mixed method approach","authors":"R. Mcmurtrie","doi":"10.1177/26349795221100132","DOIUrl":"https://doi.org/10.1177/26349795221100132","url":null,"abstract":"While it may seem obvious that visitors to an art museum move through exhibition space to see exhibits, understanding the corollaries of this movement is less so. Such an understanding requires using various complementary methodologies to observe, record, visualise and interpret visitors’ movement options. This paper is a systematic review of some long-standing methodologies and analytical tools developed within the field of visitor studies and spatial syntax as well as recent ones engendered from theories and concepts of wayfinding, Systemic Functional Linguistics, film and perception. The selected methodologies proved useful in a larger empirical study to account for the dynamic aspect of visitors’ movement patterns in exhibition space. While previous methodologies demonstrated that the placement of objects, particularly labels, influences movement patterns, newer methodologies elucidated that many movement options are not selected by the visitor, resulting in distorted views of artworks. The findings in this paper may have practical implications for curators, who might reconsider their curatorial designs to enable more movement choices and avoid these distortions, and for spatial discourse analysts, who may use some of the methodologies to undertake a finer-grained analysis of the built-environment, one which includes observing users’ movement patterns in relation to seeing.","PeriodicalId":134431,"journal":{"name":"Multimodality & Society","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114342536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Affective governance as multimodal discursive practice in Singapore’ COVID-19 vaccination video","authors":"Huimin Xu, Csilla Weninger","doi":"10.1177/26349795221096626","DOIUrl":"https://doi.org/10.1177/26349795221096626","url":null,"abstract":"Drawing on scholarship on affective-discursive practice and employing a critical multimodal analytic approach, this paper examines how an official vaccination campaign video from Singapore affectively engages with audiences through the construction of various social relationships and identities. Analysis of the multimodal images identifies four salient themes in the video: (1) a harmonious neighborhood comprising inter-ethnic friendships, (2) a paternalistic father-child relationship, (3) a male-dominant family model, and (4) a nostalgic past-present relationship. The analysis shows that affect is discursively mobilized in the orchestration of embodied modes, auditory, and visual modes via strategic filming and editing techniques. Based on the analysis, the authors argue that the video not only functions to subtly persuade the public to get vaccinated but should also be seen as part of a broader move toward an ‘affective politics’ which aims to mobilize the public, reinforce social cohesion and manage the global pandemic crisis in contemporary Singapore.","PeriodicalId":134431,"journal":{"name":"Multimodality & Society","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115784647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Multimodality, cultural production, and the protest event: Considerations of space, politics, and affect in South Africa","authors":"Nomagugu Ngwenya, Nick Malherbe, M. Seedat","doi":"10.1177/26349795221099903","DOIUrl":"https://doi.org/10.1177/26349795221099903","url":null,"abstract":"The high levels of protest in South Africa have produced varied academic literature on the subject. Although political and structural determinants of protest are readily acknowledged, social actors who comprise protest events are rarely centralised within scholarly inquiry. The particularities of protests are thus less considered than the structural issues underlying protests. We therefore argue that studying the multimodality of cultural production within protests affords researchers insight into the socially embedded nature of protest from the perspective of protester as a social actor. When we understand culture as continually being remade with and against different semiotic repertoires, then protest comes to signify a series of dynamic moments wherein cultural meanings are deployed for political purposes. Accordingly, we explore protest in South Africa by examining how the cultural practices of stick-fighting, dance, and song are navigated within the protest as a politico-affective space. Our analysis of cultural production within this space does not diminish the fundamentally political nature of protest, but instead uses cultural registers to expand how we engage the political. We conclude by reflecting on how multimodal considerations push protest research to explore the internal dynamics of protests and what this means for the understanding of protests more generally.","PeriodicalId":134431,"journal":{"name":"Multimodality & Society","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130660018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Water/colour/bead","authors":"Joni Brenner, I. Hofmeyr, Charne Lavery","doi":"10.1177/26349795221087105","DOIUrl":"https://doi.org/10.1177/26349795221087105","url":null,"abstract":"Can necklaces be made to represent the ocean? Can the stubborn solidity of beads evoke the complex fluidity and fugitive shimmer of seawater? This experiment was recently taken on by an unlikely alliance of two projects – a research project called ‘Oceanic Humanities for the Global South’ (OHGS), based in Johannesburg, and the Marigold beadwork co-operative in Bulawayo, Zimbabwe. Established in 2018 by Isabel Hofmeyr and Charne Lavery, OHGS aims to produce new styles of oceanic and watery research in the humanities that speak to conjoined environmental and decolonial themes. Although older traditions of oceanic research focus on the surface of the ocean, tracing movements of people, ideas and objects, OHGS engages also with a volumetric and material understanding of the ocean, exploring both surface and depth (DeLoughrey, 2017; Steinberg and Peters, 2015). The research has explored the ways in which different media attempt to represent the ocean, with its challenges of scale, visibility, depth, pressure and constant motion. These themes have been investigated across a range of genres, including speculative fiction, underwater photography, durational performance and canonical southern","PeriodicalId":134431,"journal":{"name":"Multimodality & Society","volume":"180 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132189528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book Review: Crossing the borders: A review of Translation and Multimodality: Beyond Words","authors":"Yiqiong Zhang","doi":"10.1177/26349795221091222","DOIUrl":"https://doi.org/10.1177/26349795221091222","url":null,"abstract":"","PeriodicalId":134431,"journal":{"name":"Multimodality & Society","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122493634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sonic stories, sensory ethnography, and listening with an injured mind","authors":"M. Charette, Elizabeth Lima, Denielle Elliott","doi":"10.1177/26349795221084144","DOIUrl":"https://doi.org/10.1177/26349795221084144","url":null,"abstract":"Brain injuries transform how one’s world sounds. What follows are two sonic stories. These short audio compositions are designed to transport the listener into the pre- and post-brain injury sensory environment—a textured and embodied landscape that non-injured minded individuals, including most clinicians, have little understanding of. This lack of understanding is a consequence of the sorts of neurological research done in the scientific traditions which tend to leave certain forms of sensory phenomena unstudied and exclude patients’ voices. We draw inspiration from Rachel Kolb’s (2017) first-person account of hearing music for the first time after getting cochlear implants. She writes that music jolted her core in ways she could not explain. Instead of “Can you hear the music?”, she prefers to be asked, “What does music feel like to you?” Stemming from the perspectives of two individuals that live with brain injuries (identified here as Story A and Story B), these sonic stories ask what does a brain injury sound like?","PeriodicalId":134431,"journal":{"name":"Multimodality & Society","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121653287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}