Abstract
This article traces the unexpected becoming-collaborative of an ethnographic project in Hackney Wick (London) which looked at the role of art in the critique to the urban transformations brought about by the 2012 Olympics. The derailment of what should have been a conventional fieldwork exercise led to a reformulation of the ethnographic practice as a collaborative device aimed at the production of textual objects which in turn acted as public forums or platforms. This process is here discussed as a recursive (or parasitic) gesture which appropriates native ways of doing.
Highlights
SUMMARY This article traces the unexpected becoming-collaborative of an ethnographic project in Hackney
Wick (London) which looked at the role of art in the critique to the urban transformations brought about by the 2012 Olympics
The derailment of what should have been a conventional fieldwork exercise led to a reformulation of the ethnographic practice as a collaborative device aimed at the production of textual objects which in turn acted as public forums or platforms
Summary
RESUMEN Este artículo traza el inesperado devenir colaborativo acontecido en el transcurso de una investigación etnográfica en Hackney Wick (Londres) en torno al rol del arte en la crítica a la transformación urbana asociada a los Juegos Olímpicos de Londres 2012. The derailment of what should have been a conventional fieldwork exercise led to a reformulation of the ethnographic practice as a collaborative device aimed at the production of textual objects which in turn acted as public forums or platforms. This process is here discussed as a recursive (or parasitic) gesture which appropriates native ways of doing
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