Strands are the kernels of ideas, or nagging questions, that pulp authors have put out into the community so that other authors and critical readers can comment, contribute or argue. The intention here is to help, through discussion, those questions and kernels move from their starting places to the more developed state that things have when they go up as a ‘work in progress’. The strands have life spans, and are closed and archived when the originator(s) moves the work to a wip (or retires it).
There are currently 3 articles in the "Strands" category.
Practice makes… practice?
A question, what is new with practice? I don’t mean “our” practice (whoever the ‘we’ of that is), but I mean the notion of practice as a conceptual, theoretical or methodological object.
It seems to me that “practice” is a predominant notion upon which much ethnographic and human-centered design work in industry sits. Theories of practice have provided ethnographers in industry a theoretically nuanced yet empirically resonant object of analysis by which to frame and ground their work. I think it grounds the work of human-centered designers too. Even when practitioners themselves may not draw explicitly (or knowingly) on this trajectory, the general framing of the applied ethnographic research, design
Lurking | Learning
This has emerged as the main question folks have about the idea behind pulp: “Why would I put anything I write up where all those lurkers can see it too?”
I don’t have a pat answer. I think that thinking about thinking in an open-source sort of way does entail some risk of a form of idea piracy. That’s not without basis, given the fact that a great deal of work in the design/research intersection has been ‘citation-free,’ largely, I think, due the perception among all kinds of practitioners that they need to be able to claim uniqueness in order to offer value, and that uniqueness
Desire, Icon, Fetish, and Discrimination
Over the last couple of days, I’ve been mulling over the perception of quality in pop culture things. Starting from the base in Wood’s “How Fiction Works” (cannot get that book out of my way of understanding the world, now that it is there), that things with a “single register” are less rich to ‘read.’
I think that there is a connection in that notion to Bourdieu’s ‘doxa’ description (from Outline of a Theory of Practice) in that the use of a ’single register’ implies either a choice or an unawareness of the full range of possible registers. So, the producers of “America’s Got Talent,” for
Ethnography and the Corporate Encounter: Reflections on Research in and of Corporations (Studies in
Melissa Cefkin, Editor
The Art of Seeing: An Interpretation of the Aesthetic Encounter
Mihaly Csikszentmihalyi, Rick E. Robinson
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