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PHOTOGRAPHIC DESIGN ANTHROPOLOGY

Becoming through diffractive image-making and entangled visions in a Copenhagen immigrant youth context

LENE HALD

PhD

DISSERTATION

THE ROYAL DANISH ACADEMY OF FINE ARTS, SCHOOL OF DESIGN PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 32 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY

Photographic Design Anthropology:

Becoming through Diffractive Image-making and Entangled Visions in a Copenhagen Immigrant Youth Context

AUTHOR

Lene Hald

SUPERVISOR

Associate professor, PhD Joachim Halse. The Royal Danish Academy of Fine Arts. School of Design

GRAPHIC DESIGN

Sara Frostig

Published in Denmark in 2018 by The Royal Danish Academy of Fine Arts. Schools of Architecture, Design & Conservation

Funded by KEA. Copenhagen School of Design & Technology ISBN

978-87-7830-986-0

PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 32 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 54 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 54 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY [I am learning] how to see the picture: not just the picture, but going inside the picture.

I don't know how to explain it.

It's like not just take the funniest pictures, but also the serious, artistic and, like, mysterious.

And hiding a story behind it.

(Sokaina, 30/5-17 1 1

Statement in response to a question from the audience at the KEA event/democratic designexperiment/photo exhibi

tion June 2016. She was asked to describe what she felt she was learning from the project. PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 76 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY

Content

PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 76 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY

ABSTRACT DANISH

ABSTRACT ENGLISH

ACKNOWLEDGEMENTS

INTRODUCTION

RESEARCH THEMES AND QUESTIONS

MOTIVATION - THE RESEARCH(ER'S) STORY

22
ENCOUNTERING VISUAL SOCIAL RESEARCH 26

OUTLINE OF DISSERTATION CHAPTERS

CHAPTER 1: RESEARCH METHOD & POSITION

POSITION ONE: FEMINIST TECHNOSCIENCE

POSITION TWO: DESIGN

POSITION THREE: PHOTOGRAPHY

CONCLUDING REMARKS CHAPTER 1 49

CHAPTER 2: PHOTOGRAPHY IN DESIGN, SOCIAL RESEARCH

AND FEMINIST TECHNOSCIENCE

PHOTOGRAPHY IN DESIGN PRACTICE &

DESIGN RESEARCH

MISS FRANCE

PHOTOGRAPHY IN SOCIAL RESEARCH (OR, ON CARE

AND RELUCTANCE TOWARDS THE USE OF IMAGES) 72

PHOTOGRAPHY IN RELATION TO FEMINIST TECHNOSCIENCE

CONCLUDING REMARKS CHAPTER 2

79
INTRO field engagements 80

CHAPTER 3: SEEING, VISITING, AND CARING

IS SHE A MODEL?

83
85

PHOTOGRAPHY AS TAKING - DRAWING AS MAKING

REVELATIONS ICONOGRAPHIE DE LA SALPÊTRIÈRE

CONCLUDING REMARKS CHAPTER 3: (SEEING,

VISITING AND CARING) 90

INTRO Kvarterhuset

CHAPTER 4: TOUCHING MYSELF

(ON DIFFRACTION AND GETTING CLOSE) 100

GETTING CLOSE

104

SKYPE WITH LAILA

106
A BODY IN FUKIHAMA INTRA-ACTING WITH KAREN BARAD 116 CONCLUDING REMARKS ON CHAPTER 4 117

Content

PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 98 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY

CHAPTER 5: DIFFRACTING EXPOSURES AND

ETHNOGRAPHIC MOMENTS

120

POSES, PIGEONHOLES, PROFILE PERDU 124

EXPOSURES

128

VISUALLY DIFFRACTING ETHNOGRAPHIC MOMENTS

129

CONCLUDING REMARKS CHAPTER 5

132

CHAPTER 6: ON RESPONSE-ABILITY

134

IN THE CLUB

139

COLLECTING THE IMAGES IN A BOOK

140
WRITING ON IMAGES 1 40

CHAPTER 7: SOKAINA'S SELFIES: DEEP DIVES,

SKILLED VISIONS AND MEDUSA HEADS

152

SKILLED VISIONS (SELFIES AND BRITTLESTARS) 154

BECOMING THROUGH IMAGES(MEDUSA SELFIES) 162

PLAY 165

BODIES AND BOUNDARIES - SELFIES AND SHARING

168

CONCLUDING REMARKS CHAPTER 7 (SELFIES) 170

CHAPTER 8: EXPLORING BECOMING OF IDENTITIES

THROUGH PHOTOGRAPHIC PROGRAM-EXPERIMENTS

ON DRESS AND ADORNMENT 174

BACK IN THE OFFICE DRAWING & INTRA-VIEWING

178

REPEAT PHOTOGRAPHY & OBJECTS OF AFFECTION

179

DRESS AND IDENTITY

188

EXPERIMENTAL OVERFLOW

190
KIND, ENERGETIC, POSITIVE, SWEET, WITH STRONG CHARACTER 192

TRYING ON MOM'S CLOTHES

194

SIA CHANDELIER - RE-CONFIGURING FILMS

200

AGENTIAL CUTS - TEMPORARY COMPLETIONS

212

CONCLUDING REMARKS CHAPTER 8

213

MOVEMENT & public circulation of the project 220

CHAPTER 9: MAKING A BOOK FOR SOKAINA('S DAUGHTER)

222
STRUCTURE OF THE BOOK 22 6 MOTIVATIONS FOR MAKING THE BOOK: ISSUES OF CARE 228

ABOUT THE BOOK

230
CUT#1 (FRONT) FAMILY ALBUM 233 CUT#1 (BACK) DIFFRACTION 238 CUT #2 (FRONT)SELFIES 244

CUT #2(BACK)PORTRAITS

246

CUT#3 (BACK AND FRONT) MESSY MATTERS

260

CUT 4 (BACK AND FRONT) SOME PLACE I CAN DANCE

264

CONCLUDING REMARKS

264
PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 98 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY

CHAPTER 10. CUTTING TOGETHER-APART 266

EVENT DURING COPENHAGEN PHOTO FESTIVAL

273

DEMOCRATIC ENGAGEMENT &

DISTRIBUTION OF THE SENSIBLE

274

CONCLUDING REMARKS CHAPTER 10

277

CONCLUSION

278

REFERENCES

288

APPENDIX

300
PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 1110 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 1110 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY

ABSTRACT DANISH

Ph.d. afhandlingen

Photographic Design Anthropology: Becoming Through Diffractive Image-making and Entangled

Visions

design (research), deltagelse, skilled visions, undersøgelser af identitet, samt feministisk teknovidenskab Feltengagementet udfolder sig blandt en gruppe unge immigrantpiger i København. Her undersøges program-eksperimenter. Disse om og med (igennem samtidig skabelseresponse-able co-researchers understøtte hvorledes de respektive felter kaerer sig om, samt forholder sig til

Diffraktion

forsker/subjekt, billede/krop. Gennem en diffraktiv metodologi, hvor faenomener laeses igennem hinanden, undersøger projektet måder at se på, poetiske potentialer, samt synliggørelse af processer ige nnem billeder, som en response-able og diffraktiv PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 1312 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 1312 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY

ABSTRACT ENGLISH

The dissertation

Photographic Design Anthropology: Becoming Through Diffractive Image-making and Entangled Visions In a Copenhagen Immigrant Youth Context

entanglement of photography, design (research), participation, skilled visions, social exploration of

young immigrant girls in Copenhagen, DK. Here the becoming of ide ntities through images is explored

through photographic and designerly program-experiments. These photographic program-experiments exem-

plify a designerly way of thinking about and with photography (through the simultaneous production of photography). Focus has been on meeting and understanding the girls as highly capable and response-able

co-researchers carrying visual skills that matter. In the project, the participating girls and I have produced

photographs, while drawing on photography as a source of feedback in a performative circular process.

In this way method and matter emerge together and are made together. Furthermore, the dissertation design (practice and research), social research and feminist technoscience. care for and relate to photography, but do it in different ways - then we are able to identify differences that matter; differences that can help us formulate and exemplify a proposal for photographic design an

thropology. Diffraction is used as a guiding metaphor for challenging essentialist categories and binaries

such as us/them, researcher/subject, image/body. Through a diffractive methodology of reading through one another,

the project explores ways of s eeing, illuminates poetics and makes readable the process itself, as a coun-

response-able and diffractive photographic practice to the design anthropological repertoire, thereby, envisioning a proposal for photographic design anthropology. PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 1514 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 1514 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY

ACKNOWLEDGEMENTS

This dissertation is the result of a collective effort. First of all, I want to thank everyone in the girls'

clubs Lunden and Kvarterhuset. Especially Sokaina. I also want to thank Amela Music who let me join

evenings in Lunden; Hildur Thorisdottir who did the same in Kvarterhuset and thereby provided a space

where I could meet a lively crowd of engaged and creative girls. I want to thank KEA for supporting

the PhD project. I am especially grateful to the former Head of Research Pernille Berg, who secured the

funding, and the current Head of Research Thomas Schødt Rasmussen, who made the last months of

writing doable due to his support and understanding. I also want to thank my inspiring main supervisor

Joachim Halse for helping me through the storm. I have always felt understood in our conversations, and enriched by his thoughtful comments and his sincere engagement. I also want to thank everyone at Centre for Codesign Research, KADK, for showing me other ways of doing research (than I thought

existed), and for always inviting and including me in interesting discussions and workshops. I also want

to thank Per Galle for his kind supervision in the initial phases of the project. Also, a big thank you to

Maria Mackinney-Valentin, who were kind enough to engage in initial discussions about my aspirations

to do a PhD project. I also want to thank Jamer Hunt, Associate Professor of Transdisciplinary Design,

The New School, NY, for his interest in the project, and for enabling a stay at transdisciplinary design,

The New School, NY. He has also been extremely helpful with thoughtful critique and encouraging com ments as opponent during my work-in-progress seminar in 2015. The same goes for professor Erling me with thoughtful and inspiring comments. I also want to thank my caring colleagues at KEA F&I, and KEA Design. A special thank you to my bright PhD colleagues and friends Jan Johansson, Jesper Balslev, Mette Ohlendorff, Mette Bak Andersen and Per L. Halstrøm. And of course also my students at KEA, whom I have learned many things from. I also want to extend my gratitude to the Camera

as Cultural critique-group at Aarhus University: their ways of working are truly inspirational. As were

thoughts, discussions and exemplary projects presented at the Messy Matters PhD course I attended at Blekinge Institute of Technology in Karlshamn, Sweden. I also want to thank the Association of Urban Photographers, London, UK, who helped exhibit some of the work produced during the course of this project. As did Copenhagen Photo Festival, DK. I also want to thank Louise Mazanti for her thought- ful insights and advice, when things seemed very chaotic, and Margot Wallard and JH Engstrøm for making me remember to care about poetics. My friend Hanne Falkenberg for fruitful discussion about photography. Furthermore, much gratitude goes out to my colleague at KEA Rasmus Rahbek Simonsen

for proofreading my text (during his holidays). And Sara Frostig for sharing my aesthetic sensibility and

aiding me in carefully laying out the dissertation. And most importantly, I must thank my partner Mikkel

and our daughters Hannah and Rose for being the most important loving foundation in my life. PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 1716 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY How to see? Where to see from? What limits to vision?

What to see for? Whom to see with?

Who gets to have more than one point of view?

Who gets blinded? Who wears blinders?

What other sensory powers

do we wish to cultivate besides vision? (Haraway 1988: 587) PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 1716 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 1918 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY See PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 1918 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY

Nothing comes without i

ts world. When someone asks you to see, it is a worldly invitation. And "It matters what stories make worlds, what worlds make stories", as Haraway puts it (Haraway 2016: 12). How then, do we look at worlds with care? What does it mean to see with someone, instead of looking

at them? How do we care for other(s) way of worlding? Can you ever see what I see? Can I ever see what

you see? How do we intra-act with ethnographic photography in response-able ways? How do we insist

on affection and care, not as embarrassing residues of a "serious science", but as ethico-onto-epistemo

with seeing in a photographic, design-anthropological and feminist technoscience context, and explores

what response-abilities to consider within a cross-cultural photographic encounter, when our notions of knowledge are formed by visibility. How do we become through images, and what agencies might

image-making extend, and what agencies might they limit? This is what I have set out to investigate in

this dissertation.

Wait and see.

During the course of this PhD project, I have been exploring in practice a series of entangled issues

related to photography in design anthropology and the formation of identity through image-making in

an immigrant youth context. This project started out as a democratic gesture: an exploration into the

emancipatory potentials of photography, and a wish to shed light on a set of (more) visually diverse

statements about identities in an immigrant context. This has included explorations of seeing, and the

realization that careful seeing means to be response-able and to enable response-abilities. I am inspired by feminist techno-science, especially the thinking of Donna Haraway (1985, 1988,

1991, 1992, 1997, 2003, 2016) and the theoretical framework of agential realism as developed by Karen

ical texts on photography has informed my way of thinking regarding the becoming of identity through images; here newer thinkers, who connect photography to new materialism, and feminist technoscience schools 2 , and apart from an MA in Photography, I also hold an MA in Visual Communication Design.

(Brandt et al, 2010, Binder et. al 2006). This part of my background has also meant that the idea of the

The Royal Danish Academy of Art. School of Design (www.kadk.dk) and KEA. Copenhagen School of Design and

Technology (www.kea.dk).

INTRODUCTION

PHOTOGRAPHIC DESIGN ANTHROPOLOGY _ 2120 _ PHOTOGRAPHIC DESIGN ANTHROPOLOGY well to my engagement with agential realism (Barad 2007), since the agency of things is highly empha

sised within this framework. I also ascribe to my designerly background a wish to get close and engage

directly with the materiality of the world, plus the assumption that the visual can support a richer and

more nuanced understanding of an ethnographic engagement, as well as my inclination to transform and diffract the visual materials created as part of these encounters. phy; by this I mean both the act of photography, as well as actual photographs. I am fascinated by

the plurality of overlapping genres, their expressive potential and their many uses. I am indebted to a

variety of photographers that have informed and transformed my way of working; addressing them all would be too many to mention, but exemplary photographic projects, especially relevant to this project, are included as reference points throughout the dissertation. Thinking with with the concept of diffraction (Haraway 1997, Barad 2007, 2014) I propose a pos

sible conceptual framework for an intra-active design anthropological photography that challenges the

borders between seemingly disparate disciplines (photography, design research, design practice, design

anthropology, feminist techno-science). To Barad, diffraction means reading texts from different tradi

tions diffractively into each other, to produce something new together (Barad, 2007: 30). Such a prac-

tice corresponds to the way I seek out relations between the disciplines of photography, art, anthro

with diffractive image-making, approaching photography's complex relationship to "the real", not as as

a problem, but as a productive and diffractive way of pointing to the (in)visible of any representation.

as a way of engaging with the girls; the various visual experiments involved participatory portrait draw-

Of course, the project did not come together in a vacuum, but rather from inside what Donna Haraway calls "the belly of the monster" (Haraway 1992). The belly of the monster is Haraway's metaphor for the situatedness of a given work, and how it both shapes the maker and the matter made. The dissertation came into being between 2013 and 2017, a time when the "War on Terror" and issues of refugee migration dominated discourses and political actions in ways that have pushed

ethnic, religious and national division. Even though the project does not engage directly with the so-

called "refugee-migration crisis" 3 it is not a coincidence that my project explores lived cultures andquotesdbs_dbs6.pdfusesText_11

[PDF] [PDF] PHOTOGRAPHIC DESIGN ANTHROPOLOGY - EA Viden

PHOTOGRAPHIC DESIGN ANTHROPOLOGY

LENE HALD

DISSERTATION

Photographic Design Anthropology:

AUTHOR

Lene Hald

SUPERVISOR

GRAPHIC DESIGN

Sara Frostig

978-87-7830-986-0

I don't know how to explain it.

And hiding a story behind it.

Content

ABSTRACT DANISH

ABSTRACT ENGLISH

ACKNOWLEDGEMENTS

INTRODUCTION

RESEARCH THEMES AND QUESTIONS

MOTIVATION - THE RESEARCH(ER'S) STORY

OUTLINE OF DISSERTATION CHAPTERS

CHAPTER 1: RESEARCH METHOD & POSITION

POSITION ONE: FEMINIST TECHNOSCIENCE

POSITION TWO: DESIGN

POSITION THREE: PHOTOGRAPHY

CONCLUDING REMARKS CHAPTER 1 49

CHAPTER 2: PHOTOGRAPHY IN DESIGN, SOCIAL RESEARCH

AND FEMINIST TECHNOSCIENCE

PHOTOGRAPHY IN DESIGN PRACTICE &

DESIGN RESEARCH

MISS FRANCE

PHOTOGRAPHY IN SOCIAL RESEARCH (OR, ON CARE

AND RELUCTANCE TOWARDS THE USE OF IMAGES) 72

PHOTOGRAPHY IN RELATION TO FEMINIST TECHNOSCIENCE

CONCLUDING REMARKS CHAPTER 2

CHAPTER 3: SEEING, VISITING, AND CARING

IS SHE A MODEL?

PHOTOGRAPHY AS TAKING - DRAWING AS MAKING

REVELATIONS ICONOGRAPHIE DE LA SALPÊTRIÈRE

CONCLUDING REMARKS CHAPTER 3: (SEEING,

VISITING AND CARING) 90

INTRO Kvarterhuset

CHAPTER 4: TOUCHING MYSELF

GETTING CLOSE

SKYPE WITH LAILA

Content

CHAPTER 5: DIFFRACTING EXPOSURES AND

ETHNOGRAPHIC MOMENTS

POSES, PIGEONHOLES, PROFILE PERDU 124

EXPOSURES

VISUALLY DIFFRACTING ETHNOGRAPHIC MOMENTS

CONCLUDING REMARKS CHAPTER 5

CHAPTER 6: ON RESPONSE-ABILITY

IN THE CLUB

COLLECTING THE IMAGES IN A BOOK

CHAPTER 7: SOKAINA'S SELFIES: DEEP DIVES,

SKILLED VISIONS AND MEDUSA HEADS

SKILLED VISIONS (SELFIES AND BRITTLESTARS) 154

BECOMING THROUGH IMAGES(MEDUSA SELFIES) 162

BODIES AND BOUNDARIES - SELFIES AND SHARING

CONCLUDING REMARKS CHAPTER 7 (SELFIES) 170

CHAPTER 8: EXPLORING BECOMING OF IDENTITIES

THROUGH PHOTOGRAPHIC PROGRAM-EXPERIMENTS

ON DRESS AND ADORNMENT 174

BACK IN THE OFFICE DRAWING & INTRA-VIEWING

REPEAT PHOTOGRAPHY & OBJECTS OF AFFECTION

DRESS AND IDENTITY

EXPERIMENTAL OVERFLOW

TRYING ON MOM'S CLOTHES

SIA CHANDELIER - RE-CONFIGURING FILMS

AGENTIAL CUTS - TEMPORARY COMPLETIONS

CONCLUDING REMARKS CHAPTER 8

MOVEMENT & public circulation of the project 220

CHAPTER 9: MAKING A BOOK FOR SOKAINA('S DAUGHTER)

ABOUT THE BOOK

CUT #2(BACK)PORTRAITS

CUT#3 (BACK AND FRONT) MESSY MATTERS

CUT 4 (BACK AND FRONT) SOME PLACE I CAN DANCE

CONCLUDING REMARKS

CHAPTER 10. CUTTING TOGETHER-APART 266