In today's new podcast & video Marlen Harrison talks with current marketing interns about the role of culture in using Google Ads.
We address how to fragment and unite in this autoethnographic study, which we developed over the Messenger App. It utilises poetry and collage around death, loneliness, postmodern culture, and the latter’s related oppressive discourses and language, and alienation.
”I share this artistic piece as an invitation to problematise and think further about not only the Autoethnographic “I/We” in what I/we can know about ourselves and our bodies but also to make space for the incoherence that becomes a part of “being” and “knowing” in explorations of fragmentation and loss.”
I pay homage to Nina Simone’s already iconic and thorough exploration of stereotypes by setting the project to the song “Four Women.”
“A Seat at the Table” is the autoethnographic manifestation of my vulnerability, anger, and anguish, of my black feminist grit."
This artwork is based on a startling and memorable encounter at the local vet while attempting to get Anaïs spayed.
The poem driving this experimental film about television considers the insomniacs who wake at the same time each night in rhythm.
The Ultimate Wave: Prose Poetry of the Pandemic and Parents Author’s Memo “The Wave” examines the problem of pleasure and...
Marlen Harrison·
All ContentAutoethnographic Art & MultimediaEducationFrom the EditorsMoreReflections on MethodVolume 2, Issue 1 (2022)
··5 min read"In this brief, animated autoethnography, I utilize the concept of a sociocultural third space to consider why evocative autoethnography can benefit from its own literary and arts journal."
The lyrics of "World's Greatest Man" grapple with the paradoxes of participant-observation as well as the ambiguity of development work in Thailand.
"At what age does a Black woman learn that it is her job to be strong?"
"Then comes that special brand of rage and dejection that the patriarchy inspires by attempting to steal away with my bodily autonomy."