Multispecies Ethnography and Artful Methods explores the potential of multimodal art practices in doing qualitative research beyond the human. Through artful endeavours such as creative writing, photography, filmmaking, drawing and poetry, the volume aims to overcome the shortcomings of conventional, anthropocentric and logocentric methods in multispecies research. To move beyond the limitations of language and linguistic communication, the contributors build on the long tradition of visual and sensory anthropology while also engaging in and consciously reflecting on innovative, creative and artistic methods. Taking a multispecies and more-than-human perspective – ranging from snow and trees to animals and an AI oracle – the volume investigates ways to touch, speak, listen, feel, walk with and reach across different species.
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This book and accompanying multimedia website advance the frontier of publishing artful expressions of academic research by highlighting how creative practices can be the very core of data collection, analysis and the communication of research. As such, the artful pieces are not ‘just’ illustrations of textual representations, but are practised as part of an iterative process of data collection and analysis.
The contributions by well-established scholars, early career researchers and postgraduates who carry out new, cutting-edge research offer an engaging range of analytical, methodological and empiric orientations, while conversing at the intersection of multispecies ethnography and artful methods.
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", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 4, "contributor": { "orcid": "https://orcid.org/0009-0009-3354-0226", "website": null }, "affiliations": [ { "position": "Anthropologist and associate professor in the Department of Cultural Anthropology and Development Studies", "affiliationOrdinal": 1, "institution": { "institutionName": "Radboud University", "ror": null } } ] }, { "contributionType": "AUTHOR", "firstName": "Nastasha", "lastName": "Fijn", "fullName": "Natasha Fijn", "biographies": [ { "biographyId": "9b4e50dd-8d85-435f-94c6-8ade21937b4a", "contributionId": "cb32047d-10cf-46a2-a844-7cd78ec03ff9", "content": "Natasha Fijn is Director of the Australian National University’s Mongolia Institute. She has been awarded a mid-career ARC Future Fellowship to conduct research on ‘A Multi-species Anthropological Approach to Influenza’ (2022–2026). Natasha wrote a seminal multispecies ethnography based in Mongolia, Living with Herds: Human-animal Coexistence in Mongolia (2011). She has co-edited five books and several journal volumes, including three special issues oriented toward visual anthropology and ethnographic filmmaking, and three engaging with multispecies and sensory anthropology in the journals Inner Asia (2020), The Australian Journal of Anthropology (2020) and Anthropology Today (2023). She recently (2023) published a co-edited book with Routledge, Nurturing Alternative Futures: Living with Diversity in a More-than-human World.
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", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.70950/crossmark-policy", "publisher": { "publisherName": "The White Horse Press" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Catrien", "lastName": "Notermans", "fullName": "Catrien Notermans", "biographies": [ { "biographyId": "e33576c2-b5a1-4565-bb1c-ff5d9f6322b6", "contributionId": "f70d568c-3869-4cc3-b58e-d77511020375", "content": "Catrien Notermans is an anthropologist and associate professor in the Department of Cultural Anthropology and Development Studies at Radboud University, Nijmegen (The Netherlands). Her research line is on social relatedness with and beyond the human and focuses on the intersection of kinship, gender and religion in India, West Africa and Europe. Her most recent projects are on interspecies communication in women’s economic and religious activities in Rajasthan (India); and on storying human-river relatedness in the Netherlands. Her projects are based on visual, sensory and arts-based ethnography which are the methodologies she also teaches at the Anthropology Department. In 2022, Notermans co-founded together with Andrea Petitt, Véronique Servais, and Anke Tonnaer the international MEAM network for Multispecies Ethnography and Artistic Methods. In 2023, Notermans worked together with Anke Tonnaer in an Arts-Science collaboration called TASC (The Art of Science)to design a post-anthropocentric future for the city of Nijmegen.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 1, "contributor": { "orcid": "https://orcid.org/0009-0009-3354-0226", "website": null }, "affiliations": [ { "position": "Anthropologist and Associate Professor in the Department of Cultural Anthropology and Development Studies", "affiliationOrdinal": 1, "institution": { "institutionName": "Radboud University", "ror": null } } ] }, { "contributionType": "AUTHOR", "firstName": "Anke", "lastName": "Tonnaer", "fullName": "Anke Tonnaer", "biographies": [ { "biographyId": "8b03c841-655a-43a4-995a-83d5fefe77f4", "contributionId": "f9b494ae-fc73-44fa-9fd4-45767cad4829", "content": "Anke Tonnaer is an anthropologist and assistant professor in the Department of Anthropology and Development Studies at Radboud University, Nijmegen (The Netherlands). Her research interests developed from long-term ethnographic fieldwork in Indigenous Australia, studying the intersection of nature and culture in tourism, to rewilding initiatives and the challenges of multispecies cohabitation and conservation practices in north-west Europe, especially the Netherlands. Her desire to narrate the more-than-human world in alternative ways alongside the rational dominant ways of ecology has brought her to exploring art-based methodology and sensory ethnography. In 2022, Anke co-founded together with Andrea Petitt, Véronique Servais, and Catrien Notermans the international MEAM network for Multispecies Ethnography and Artistic Methods, and was co-organiser of the 2022 and 2023 MEAM conferences. In 2023, Anke also worked with Catrien Notermans in an Arts-Science collaboration called TASC (The Art of Science) to design a post-anthropocentric future for the city of Nijmegen.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 2, "contributor": { "orcid": "https://orcid.org/0000-0003-0804-369X", "website": null }, "affiliations": [ { "position": "Anthropologist and Assistant Professor in the Department of Anthropology and Development Studies", "affiliationOrdinal": 1, "institution": { "institutionName": "Radboud University", "ror": null } } ] }, { "contributionType": "ILLUSTRATOR", "firstName": "Marcel", "lastName": "van Brakel", "fullName": "Marcel van Brakel", "biographies": [], "contributionOrdinal": 3, "contributor": { "orcid": null, "website": null }, "affiliations": [] } ], "languages": [ { "languageCode": "ENG", "languageRelation": "ORIGINAL" } ], "publications": [], "fundings": [], "references": [] } }, { "relationType": "HAS_CHILD", "relationOrdinal": 3, "relatedWork": { "edition": null, "doi": "https://doi.org/10.63308/63878687083054.ch02", "publicationDate": "2025-07-01", "withdrawnDate": null, "workStatus": "ACTIVE", "license": "https://creativecommons.org/licenses/by-nc-nd/4.0/", "copyrightHolder": "Hermione Spriggs", "generalNote": "[essay and film]", "place": "Winwick, Cambs., UK", "firstPage": "64", "lastPage": "81", "pageCount": 18, "pageInterval": "64–81", "landingPage": "https://www.whpress.co.uk/publications/2025/03/04/meam-2/", "titles": [ { "titleId": "bceb158e-04fa-4382-b178-e8c842fe510c", "localeCode": "EN", "fullTitle": "2. EARTH SWIMMERS / ON CAPTURE: A PRACTICE- BASED ETHNOGRAPHY OF MOLE CATCHING AND FILM MAKING IN NORTH YORKSHIRE", "title": "2. EARTH SWIMMERS / ON CAPTURE", "subtitle": "A PRACTICE- BASED ETHNOGRAPHY OF MOLE CATCHING AND FILM MAKING IN NORTH YORKSHIRE", "canonical": true } ], "abstracts": [ { "abstractId": "356d4685-8777-4def-83c8-b41088a838f5", "workId": "cc117f9d-2e4c-452c-9a1f-18265d446f1b", "content": "The film Earth Swimmers (2021) attends to the tricks and techniques that mole catchers use to access the underground world of the mole. Using tools as portals into the mole’s vibratory world, probes, feet, noses and rain-making instruments lead the viewer into alternative ways of sensing and knowing the earth. This film emerged within a larger body of work resulting from direct collaboration with a professional mole catcher – one outcome of long-term ethnographic fieldwork investigating rural pest control practices and attitudes to land in rural North Yorkshire, UK. This chapter describes the author’s hunting collaborators’ practical and intimate engagement with the worlds of ‘vermin’ species in North Yorkshire, where she spent a year apprenticing to rural pest controllers in 2020–21. The chapter shows how specific skills and techniques of the body underpin and make possible the empathic understanding that enables a trapper first to think like a prey animal, and then to reach into its world through ‘respectful deception’ (Anderson et al., 2017), taking its life with minimum disruption and making use of its body as food or repurposing it otherwise. The artful engagements of the author’s interlocutors with the worlds or umwelten (Uexküll, 2010) of other animal species provides a generative model for her own perspectival manoeuvres as she experiments with Nigel, the mole catcher and central collaborator in the film, and his relationship to moles, and how to responsibly negotiate with death herself in the making of the film Earth Swimmers (2021). The author argues for the value of ‘anthropological borrowing’, pointing to the creative potential and theoretical productivity of methods, forms and concepts from the field. Specifically, the mole catcher taught her creative multispecies methods, such as animal tracking and tactical probing, inviting the author to engage with anthropological theory in a practical way, decentring her own perspective, making room for the perception, agency and subjectivity of nonhuman others.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.70950/crossmark-policy", "publisher": { "publisherName": "The White Horse Press" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Hermione", "lastName": "Spriggs", "fullName": "Hermione Spriggs", "biographies": [ { "biographyId": "7ce02050-7036-42b5-81cd-dfa19d13ccea", "contributionId": "f39f9606-7fff-4f33-ab37-0e3a01280c03", "content": "Hermione Spriggs is an artist, writer and researcher. Her current Ph.D. research explores art and creativity through the lens of land-based practice in North Yorkshire, through long-term collaboration with traditional mole catchers and other unlikely stewards of the land. Public / participatory art projects draw from this ethnographic context and from broader interests in rural folk practices, radical anthropology, hunting lore and female trickster intelligence. Hermione gained an MFA in Visual Art at UC San Diego (2012) and a BSc in Anthropology from UCL (2008). Her edited book Five Heads: Art, Anthropology and Mongol-Futurism is published by Sternberg Press. Current projects include an edible public artwork for Kings Hedges Cambridge, learning to echolocate as Bat Choir, and ongoing collaborative work exploring practices of attention and alternative forms of community organisation.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 1, "contributor": { "orcid": "https://orcid.org/0000-0003-0462-6572", "website": null }, "affiliations": [] } ], "languages": [], "publications": [], "fundings": [], "references": [] } }, { "relationType": "HAS_CHILD", "relationOrdinal": 4, "relatedWork": { "edition": null, "doi": "https://doi.org/10.63308/63878687083054.ch03", "publicationDate": "2025-07-01", "withdrawnDate": null, "workStatus": "ACTIVE", "license": "https://creativecommons.org/licenses/by-nc-nd/4.0/", "copyrightHolder": "Nanna Sandager Kisby", "generalNote": "[essay, photos and sound]", "place": "Winwick, Cambs., UK", "firstPage": "82", "lastPage": "100", "pageCount": 19, "pageInterval": "82–100", "landingPage": "https://www.whpress.co.uk/publications/2025/03/04/meam-2/", "titles": [ { "titleId": "d0d02a71-be53-4ed0-88ed-b62defdfee6b", "localeCode": "EN", "fullTitle": "3. THE SOUNDS OF SNOW: AN EXPLORATION OF HUMAN-SNOW RELATIONS IN ILULISSAT, KALAALLIT NUNAAT", "title": "3. THE SOUNDS OF SNOW", "subtitle": "AN EXPLORATION OF HUMAN-SNOW RELATIONS IN ILULISSAT, KALAALLIT NUNAAT", "canonical": true } ], "abstracts": [ { "abstractId": "c62804cb-3913-48b7-ae4f-23660a1232f7", "workId": "9ae89d3d-5933-40e8-a52a-765ba1aaeacf", "content": "Snow is ever present during the long winter months in Ilulissat, Kalaallit Nunaat (Greenland). It covers houses, doorways, roads, cars, sleeping dogs, and mountains. It shapes the landscape, re-configures town infrastructure, and hinders – as well as enables –human practices. In order to understand human life in Ilulissat, it is crucial to understand snow and its behavior. This chapter therefore focuses on snow as a vibrant materiality (Bennett, 2010) that acts from certain inherent capacities: snow is a shape shifter, it moves, it takes up space, it is a source of life, and it produces impressions that can be registered by, for example, human senses. These capacities of snow influence its relationship with other actors in more-than-human assemblages. In order to study these capacities of snow, the author made use of artistic methods and sensory ethnography in addition to traditional ethnographic methods during her fieldwork in Ilulissat. In particular, soundscapes and photography enabled her to explore the ways in which snow behaves, and to capture its various manifestations. Artistic methods also created the possibility to collaborate with snow as a nonhuman actor in the process of making art, in order to share the research findings with other humans. The author shows that artistic methods function as a bridge between the nonhuman and the human, and help in producing art as embodied knowledge. This chapter includes four sound recordings and six photographs. At specified moments in the chapter, the author invites the readers to listen to the snow recordings and to look at the images and thus to go with her on a multi-sensory journey to meet the snow in Ilulissat.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.70950/crossmark-policy", "publisher": { "publisherName": "The White Horse Press" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Nanna", "lastName": "Kisby", "fullName": "Nanna Kisby", "biographies": [ { "biographyId": "116d3de2-3d71-478f-ba5e-9c80fb66e26f", "contributionId": "a8f638fb-087b-459f-ab22-16e59ed67052", "content": "Nanna obtained her MSc in Cultural Anthropology: Sustainable Citizenship at Utrecht University in the Netherlands. Her thesis focused on human-snow relations in Ilulissat, Kalaallit Nunaat, and shows how nonhuman matter (such as snow) has an inherent agency. She obtained her BSc in Anthropology at Aarhus University in Denmark. Nanna also has a background in art and movement studies, which has inspired her to draw on artistic methods and bodily inquiry in her ethnographic work. Throughout her fieldwork in Ilulissat, Nanna experimented with data collection through a combination of methods in order to capture aspects of human-snow relations that escape the written word. These methods included recording soundscapes, photography, and exploring snow through sensory ethnography. Nanna currently works for a small company in the Dutch energy sector. In her work, she conducts cultural analyses and co-coordinates a project in Egypt developing Vocational Education and Training (VET) programs on sustain- ability and green hydrogen.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 1, "contributor": { "orcid": null, "website": null }, "affiliations": [] } ], "languages": [ { "languageCode": "ENG", "languageRelation": "ORIGINAL" } ], "publications": [], "fundings": [], "references": [] } }, { "relationType": "HAS_CHILD", "relationOrdinal": 5, "relatedWork": { "edition": null, "doi": "https://doi.org/10.63308/63878687083054.ch04", "publicationDate": "2025-07-01", "withdrawnDate": null, "workStatus": "ACTIVE", "license": "https://creativecommons.org/licenses/by-nc-nd/4.0/", "copyrightHolder": "Natasha Fijn", "generalNote": "[photo essay]", "place": "Winwick, Cambs., UK", "firstPage": "101", "lastPage": "118", "pageCount": 18, "pageInterval": "101–118", "landingPage": "https://www.whpress.co.uk/publications/2025/03/04/meam-2/", "titles": [ { "titleId": "edb921fd-2700-467d-8f45-66358f7ec8ae", "localeCode": "EN", "fullTitle": "4. THE ENDURING PRESENCE OF THE EUCALYPTUS TREE: A PHOTO ESSAY", "title": "4. THE ENDURING PRESENCE OF THE EUCALYPTUS TREE", "subtitle": "A PHOTO ESSAY", "canonical": true } ], "abstracts": [ { "abstractId": "793cb595-ad85-4268-93fe-e3e3affce200", "workId": "075027b9-3a3e-4940-98fd-54aca53c0744", "content": "The strength of the photo essay in multispecies anthropological research is the close integration between still images and the accompanying text as a form of ethnographic narrative. How can the structure of the photo essay provide an experimental medium for conceptualising multispecies ethnography, while communicating engagement with more-than-human subjects? The photo essay included here employs an experimental creative approach featuring large, lone eucalypts as significant beings on the fringes of the reserves and suburbs of Canberra, the capital city of Australia. As sentinels, these canopy trees have witnessed different forms of human presence over as much as a five-century lifespan: from ancestral Ngunnuwal making marks on such trees, viewed by individual Aboriginal Australians as kin; to present-day workers in newly developed suburbs manicuring newly formed lawns and gardens beneath the shade of these trees. The author has produced other multispecies-oriented photo essays as an ongoing form of experimentation with the sensory and juxtaposition of still images with text to form an ethnographic narrative. The photo essay comprises a series of images in two parts with accompanying text forming explanatory captions, the combination of image and text then helping to build a multispecies story. The first part of the photo essay connects with individual Eucalypts in reserves, while the second part foregrounds individual trees within a new development, the suburb of Ginninderry. The author highlights how the photo essay can be effective in allowing for more-than-human subjectivity and agency. The focus on individual eucalypt trees within the photo essay is an extension of the author’s connection with individual trees and a part of her ongoing creative expression with a focus on sensorial and multispecies entanglements with significant others. Accompanying the photo essay is a description in the form of an ‘artnographic statement’ of Fijn’s methodology in combining multispecies ethnography with photography, followed by an explanatory section connecting the differing Abo- riginal Australian perspectives from those of wider settler-Australian attitudes towards individual Eucalypts in the context of Australia’s capital.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.70950/crossmark-policy", "publisher": { "publisherName": "The White Horse Press" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Nastasha", "lastName": "Fijn", "fullName": "Natasha Fijn", "biographies": [ { "biographyId": "43f3aa0f-16c5-40fb-9a47-f317da25e051", "contributionId": "7bbb993c-9438-477c-a75a-ec2186fea55a", "content": "Natasha Fijn is Director of the Australian National University’s Mongolia Institute. She has been awarded a mid-career ARC Future Fellowship to conduct research on ‘A Multi-species Anthropological Approach to Influenza’ (2022–2026). Natasha wrote a seminal multispecies ethnography based in Mongolia, Living with Herds: Human-animal Coexistence in Mongolia (2011). She has co-edited five books and several journal volumes, including three special issues oriented toward visual anthropology and ethnographic filmmaking, and three engaging with multispecies and sensory anthropology in the journals Inner Asia (2020), The Australian Journal of Anthropology (2020) and Anthropology Today (2023). She recently (2023) published a co-edited book with Routledge, Nurturing Alternative Futures: Living with Diversity in a More-than-human World.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 1, "contributor": { "orcid": "https://orcid.org/0000-0002-2474-3365", "website": null }, "affiliations": [ { "position": "Director of the Mongolia Institute", "affiliationOrdinal": 1, "institution": { "institutionName": "Australian National University", "ror": "https://ror.org/019wvm592" } } ] } ], "languages": [ { "languageCode": "ENG", "languageRelation": "ORIGINAL" } ], "publications": [], "fundings": [], "references": [] } }, { "relationType": "HAS_CHILD", "relationOrdinal": 6, "relatedWork": { "edition": null, "doi": "https://doi.org/10.63308/63878687083054.ch05", "publicationDate": "2025-07-01", "withdrawnDate": null, "workStatus": "ACTIVE", "license": "https://creativecommons.org/licenses/by-nc-nd/4.0/", "copyrightHolder": "Bartram+Deigaard", "generalNote": "[essay and image composites]", "place": "Winwick, Cambs., UK", "firstPage": "120", "lastPage": "139", "pageCount": 20, "pageInterval": "120–139", "landingPage": "https://www.whpress.co.uk/publications/2025/03/04/meam-2/", "titles": [ { "titleId": "a13af823-4eeb-47fe-806c-3f801b6d416b", "localeCode": "EN", "fullTitle": "5. ARTISTIC CO-DISCOVERY IN MULTISPECIES COLLABORATION", "title": "5. ARTISTIC CO-DISCOVERY IN MULTISPECIES COLLABORATION", "subtitle": null, "canonical": true } ], "abstracts": [ { "abstractId": "e7bdde32-1c33-4831-903e-249805d09c0d", "workId": "494c00a3-c9c1-4ce7-8a67-6adf425e718c", "content": "Bartram + Deigaard are the collaborative duo of artists Lee Deigaard (US) and Angela Bartram (UK) engaged in a transoceanic, international collaboration and dialogue exploring dualities of mind and being, multi-species empathy and the ethics of animal collaboration. Bartram + Deigaard test the edges, the margins, the overlaps and the interstitial spaces of and within collaboration and interspecies potential ‘doubling(s)’ in their artistic research. Doubling here relates to mirroring and sharing between species, of mind and body, and the myriad divergences that bind through the recognition of this process. Brought together by a shared brain mentality with regard to animal studies, as that which is a recognised field of discourse, and of being and not being, recognising and refusing to affirm the non-human as apart from our common animality, they work sympathetically and empathetically although situated geographically far apart. Born of an openness to involve the non-human fully in creative thinking, making and staging, they create situations of co-learning where all collaborators can contribute and learn from each other, and they willingly embrace the unanticipated shifts to the process each species brings. Using diverse methods, processes and materials, and curious to a myriad of opening potentialities, they explore working as humans from an animal-centric perspective. They bring sensitivities to their research with the non-human animal as both artistic subject and collaborator, of behaving as animal to observe and engage with empathy and openness to the unexpected, and particularly to animal insight and revelation. Iterative long-term projects in photography, video, installation, drawing and printmaking foreground proximity and proprioceptive, nearly devotional studio and caretaking practices centring on respiration and companionate movement. This text explores being mindful and sensible with balancing sympathies and empathies within an often-unbalanced system of agency predicated in environments structured by and for humans (including spaces intended for animal habitation). It discusses the unscripted learning that occurs through interspecies collaboration, and what each animal (human and non-human) can teach the other when both are given full creative agency. Offering examples of their own individual and collaborative work within a critical framework to explain pertinent propositions and findings, it will demonstrate how openness is key for possibilities to flourish. It will discuss how equality and responsive creative co-learning environments can produce revelatory results creatively instigated and directed by the non-human. There are 37 images, of which 27 are combined into nine ‘composites’.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.70950/crossmark-policy", "publisher": { "publisherName": "The White Horse Press" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Angela", "lastName": "Bartram", "fullName": "Angela Bartram", "biographies": [ { "biographyId": "07274069-1255-4eaf-ad8e-8e0ab6f120ec", "contributionId": "cb50e2ba-b4a6-4458-9aa1-94e8ccbf30ee", "content": "Angela Bartram is an artist and artistic researcher who investigates thresholds of the human body, gallery or museum, definitions of the human and animal as companion species and strategies for documenting the ephemeral. The research, made individually and through collaboration, is made public through exhibitions, events and published texts. Bartram is Professor of Contemporary Art and Co-Lead for the Creative and Cultural Industries Academic Theme and Research Centre at the University of Derby. Amongst other board affiliations, she is Vice President of the Society for Artistic Research and Trustee of the Board of Directors of the Live Art Development Agency. Her Ph.D. in Fine Art is from Middlesex University.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 1, "contributor": { "orcid": "https://orcid.org/0000-0001-9001-4630", "website": null }, "affiliations": [ { "position": "Professor of Contemporary Art and Co-Lead for the Creative and Cultural Industries Academic Theme and Research Centre", "affiliationOrdinal": 1, "institution": { "institutionName": "University of Derby", "ror": "https://ror.org/02yhrrk59" } }, { "position": "Trustee of the Board of Directors", "affiliationOrdinal": 2, "institution": { "institutionName": "Live Art Development Agency", "ror": "https://ror.org/055sgbp02" } } ] }, { "contributionType": "AUTHOR", "firstName": "Lee", "lastName": "Deigaard", "fullName": "Lee Deigaard", "biographies": [ { "biographyId": "d81c0d5e-2311-45da-8b74-4394ceb953c5", "contributionId": "365e0892-8607-4518-a81b-38ca9e12fe7f", "content": "Lee Deigaard explores the topographies where one consciousness encounters another, describing a landscape given shape and substance by its animal protagonists, their sensory and imaginative worlds and their autonomy. With language, photography/video, installation, event and drawing, her work approaches the animal from positions of equality, collaboration and mutual curiosity and looks at multi-species empathy, animal cognition and personality, memory and grief, and the nature of intimacy. As an independent artist, writer and researcher based in urban Louisiana and rural Georgia, she has exhibited and presented her work nationally and internationally. Her writing and artwork have been published in Oxford American, Humanimalia, and Antennae: The Journal of Nature in Visual Culture among others. She holds degrees from Yale University, the University of Texas at Austin, and the University of Michigan. She is one half of the trans-Atlantic collaborative duos, Bartram + Deigaard and DULSE (with the novelist Mandy Suzanne-Wong of Bermuda).
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 2, "contributor": { "orcid": "https://orcid.org/0009-0000-5483-0622", "website": null }, "affiliations": [] } ], "languages": [ { "languageCode": "ENG", "languageRelation": "ORIGINAL" } ], "publications": [], "fundings": [], "references": [] } }, { "relationType": "HAS_CHILD", "relationOrdinal": 7, "relatedWork": { "edition": null, "doi": "https://doi.org/10.63308/63878687083054.ch06", "publicationDate": "2025-07-01", "withdrawnDate": null, "workStatus": "ACTIVE", "license": "https://creativecommons.org/licenses/by-nc-nd/4.0/", "copyrightHolder": "Charlotte Dorn", "generalNote": "[photo essay]", "place": "Winwick, Cambs., UK", "firstPage": "140", "lastPage": "155", "pageCount": 16, "pageInterval": "140–155", "landingPage": "https://www.whpress.co.uk/publications/2025/03/04/meam-2/", "titles": [ { "titleId": "580b909b-2b14-41c7-842b-478c484d6167", "localeCode": "EN", "fullTitle": "6. ATTENDING TO FIREBUGS: ARTISTIC INVESTIGATIONS FOR RESPECTFUL CORRESPONDENCES", "title": "6. ATTENDING TO FIREBUGS", "subtitle": "ARTISTIC INVESTIGATIONS FOR RESPECTFUL CORRESPONDENCES", "canonical": true } ], "abstracts": [ { "abstractId": "6f1e059a-2539-4be1-a18d-690ac89ae777", "workId": "18c3a928-d5b6-42ed-85bd-a2a97eb17863", "content": "In this piece, Charlotte Dorn engages in a loving attention towards firebugs as a basis for an ethical aesthetic that she develops through multispecies ethnography enriched by still images, video, sound recordings, drawing and printmaking. This photo essay elaborates on how Dorn engages with concrete artistic methodologies, the photos are a selection of fieldwork registrations and their further artistic processing. The reader follows Dorn, through text and photos, from her fieldwork through to the analysis phase, where ideas on firebugs and multispecies worlds are further developed and rendered tangible through drawing, as well as wood- and linocut. Importantly, the slowness of the creative process gives space to let the fieldwork experience with firebugs sink in and come back to the sensory experience over and over again. Seeking to understand how firebugs inhabit the world, artistic practices here further knowledge production that connects rather than objectifies; taking a holistic approach toward experiences with animals gives space to cognitive, physical, sensorial and affective aspects of the encounter. The sponginess of artistic modes of perception leads to individual and multi-layered perspectives on animality. It also suggests that much of the non-human animal is not yet understood and remains mysterious.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.70950/crossmark-policy", "publisher": { "publisherName": "The White Horse Press" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Charlotte", "lastName": "Dorn", "fullName": "Charlotte Dorn", "biographies": [ { "biographyId": "4aaffff3-d038-4740-a841-ef48b98dfca7", "contributionId": "76c7b2f8-fae5-42b9-b5c2-bffc7dc9f5a7", "content": "Charlotte Dorn is an artist and researcher living in Brussels and doing an artistic Ph.D. at LUCA School of Arts and KU Leuven. She took her Masters in Art at the Accademia di Belle Arti die Napoli and her Bachelor in the Arts at the Académie des Beaux-Arts Nantes Métropole and the Universidad de Sevilla, Campus Bellas Artes. Her work is on display in exhibitions such as the Centrale for Contemporary Art in Brussels or residencies like the International Latgale Graphic Art Symposium in Daugavpils, Latvia. Dorn’s artwork mainly consists of printmaking. Through drawing and life observation, she approaches insect worlds, with a current focus on firebugs. Key interests in her research are empathetic engagement through images and through the creative process, as well as the representation of insects as actants and processes.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 1, "contributor": { "orcid": "https://orcid.org/0000-0002-9975-8668", "website": null }, "affiliations": [ { "position": "Artistic Ph.D. candidate", "affiliationOrdinal": 1, "institution": { "institutionName": "LUCA School of Arts", "ror": "https://ror.org/02gkfsf47" } }, { "position": "Artistic Ph.D. candidate", "affiliationOrdinal": 2, "institution": { "institutionName": "KU Leuven", "ror": "https://ror.org/05f950310" } } ] } ], "languages": [ { "languageCode": "ENG", "languageRelation": "ORIGINAL" } ], "publications": [], "fundings": [], "references": [] } }, { "relationType": "HAS_CHILD", "relationOrdinal": 8, "relatedWork": { "edition": null, "doi": "https://doi.org/10.63308/63878687083054.ch07", "publicationDate": "2025-07-01", "withdrawnDate": null, "workStatus": "ACTIVE", "license": "https://creativecommons.org/licenses/by-nc-nd/4.0/", "copyrightHolder": "Simone de Boer; Hanna Charlotta Wernersson", "generalNote": "[essay and multimedia montage]", "place": "Winwick, Cambs., UK", "firstPage": "156", "lastPage": "167", "pageCount": 12, "pageInterval": "156–167", "landingPage": "https://www.whpress.co.uk/publications/2025/03/04/meam-2/", "titles": [ { "titleId": "023c2dff-e64f-4522-bf07-cc68d6494e55", "localeCode": "EN", "fullTitle": "7. FARMING COWS AND WORMS", "title": "7. FARMING COWS AND WORMS", "subtitle": null, "canonical": true } ], "abstracts": [ { "abstractId": "31a09b8e-f863-46e9-8205-3b23c5e17097", "workId": "afa8d6df-840c-4351-bfc9-0766d1de3921", "content": "This piece presents a multimedia montage that explores multispecies relationships in three different farming contexts: human-worm relationships in Kyrgyz compost heaps, and human-cow (or bull) relationships on two divergent Swedish cattle farms, one family farm (cow-calf farm) and one industrial farm (bull-breeding farm). The video montage is made up of different mixed media, consisting of video and still images, drawings, sounds, and quotations from informants. The visual piece is accompanied by three kinds of written comments. The montage companion gives more details about the authors’ motivations for artistic work, and about the circumstances of their encounter and how they creatively worked together. In their experience, artistic work has helped them to sustain their curiosity for their object, but also to give place to contradictions (love and violence, for example); creativity contributed to open their senses to a multisensorial ethnography. Taken together, these elements allow the authors to explore multispecies socialities and let the non-human ‘speak for themselves’. The montage guide accompanies the readers by giving them a more detailed subtext. That part is necessary for making sense of what has been sensed or intuited during the first viewing of the montage. With the montage guide, the reader can come back to each moment, pause, reflect on it, and connect it to the research question. With this addition, the whole process makes sense and we can see how artistic methods make a difference. Lastly, the artnographic statement explains the context of the research and presents the main question: what is a ‘good’ relationship in human-animal relationships where animals are kept with human food in mind? It explains how the material of the montage was created and why their joint engagements with artful methods matter to the authors in addressing the question.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.70950/crossmark-policy", "publisher": { "publisherName": "The White Horse Press" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Simone", "lastName": "de Boer", "fullName": "Simone de Boer", "biographies": [ { "biographyId": "69eec846-467e-4499-8342-6e69c5f37fdc", "contributionId": "58f25d10-ff39-4b12-b511-7b88b816c4b1", "content": "Simone de Boer is a Ph.D. candidate in Social Anthropology at the University of Gothenburg, School of Global Studies. In her research she focuses on the development and meaning of organic and permaculture farming in Kyrgyzstan. Using ethnographic and creative methods, she explores processes of learning and knowing, more-than-human relationships, and ‘good farmer’ identities. The creative methods she employs include photography, video, drawing, creative writing and workshops with interlocutors. Simone’s educational background is in Cultural Anthropology and Film & Photographic Studies (Leiden University, the Netherlands). In her previous research in Kyrgyzstan, she studied (transformations of ) ‘traditional’ horse games and human-horse relationships in the context of increasing tourism, processes of sportification, and the development of mega sporting events. In 2018–2019, she was one of Leiden’s City Photographers, creating ethnographic photo essays for the city newspaper in collaboration with fellow anthropologists.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 1, "contributor": { "orcid": null, "website": null }, "affiliations": [ { "position": "Ph.D. candidate in Social Anthropology", "affiliationOrdinal": 1, "institution": { "institutionName": "University of Gothenburg", "ror": "https://ror.org/01tm6cn81" } } ] }, { "contributionType": "AUTHOR", "firstName": "Hanna Charlotta", "lastName": "Wernersson", "fullName": "Hanna Charlotta Wernersson", "biographies": [ { "biographyId": "73b5f7cb-a801-4e92-833d-999d5d82c504", "contributionId": "441e534b-7ce9-4300-b29d-6a5415a5a714", "content": "Hanna is a Ph.D. candidate at the School of Global Studies within the field of environmental social science. In her Ph.D. project, she studies conceptualisations and performances of ‘holistic’ management among regenerative cattle farmers in Sweden. Using ethnographic and creative methods, Hanna explores the ethical and practical relationships to nonhuman nature that are produced in and through daily farm doings. Creative writing, drawing and soundscape-making are examples of Hanna’s methodology. Hanna has a MSc in socio-ecological resilience from Stockholm Resilience Center. Her professional experience includes working as Course Coordinator at the Center for Environment and Development Studies at Uppsala University, Sweden, and as Agricultural Marketing Specialist for the US Foreign Agricultural Service, Canada. Hanna also farms twelve hectares of land, exploring what ‘good’ land management could mean on the clay soils of western Sweden.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 2, "contributor": { "orcid": "https://orcid.org/0000-0003-0175-0869", "website": null }, "affiliations": [ { "position": "Ph.D. candidate at the School of Global Studies", "affiliationOrdinal": 1, "institution": { "institutionName": "University of Gothenburg", "ror": "https://ror.org/01tm6cn81" } } ] } ], "languages": [ { "languageCode": "ENG", "languageRelation": "ORIGINAL" } ], "publications": [], "fundings": [], "references": [] } }, { "relationType": "HAS_CHILD", "relationOrdinal": 9, "relatedWork": { "edition": null, "doi": "https://doi.org/10.63308/63878687083054.ch08", "publicationDate": "2025-07-01", "withdrawnDate": null, "workStatus": "ACTIVE", "license": "https://creativecommons.org/licenses/by-nc-nd/4.0/", "copyrightHolder": "Merlijn Huntjens; Nina Willems; Leonie Cornips", "generalNote": "[essay, photos, sketches and poetry]", "place": "Winwick, Cambs., UK", "firstPage": "168", "lastPage": "178", "pageCount": 11, "pageInterval": "168–178", "landingPage": "https://www.whpress.co.uk/publications/2025/03/04/meam-2/", "titles": [ { "titleId": "bb1c8295-88b3-41b4-a994-230dc64aa0bf", "localeCode": "EN", "fullTitle": "8. TO TOUCH LIGHTLY IN PASSING", "title": "8. TO TOUCH LIGHTLY IN PASSING", "subtitle": null, "canonical": true } ], "abstracts": [ { "abstractId": "d72565d6-7d5c-4679-bd42-357269ab7d25", "workId": "4bad9b71-72fe-4203-b998-f575959b2ae6", "content": "In this paper, a poetic discourse invites the reader to slow down and pay attention to the pictures of Piet (the bull) and his herd as they present themselves, interact with each other and with human beings. The authors use light, precise, and minimalist descriptive discourse to guide the reader’s attention to bodies, gazes, positions, attitudes, synchronisation, relationships… and to the unspoken, yet meaningful, that forms the core of human-animal communication. Each picture is taken as a suspended moment or space where something happens. Artful methods (combination of pictures and poetic discourse) have been chosen by the authors for their ability to decentre the perception from language-centred categories, and embody such notions as ‘becoming-with’ or haptic communication, fully showing the potential of these methods for research in interspecies communication.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.70950/crossmark-policy", "publisher": { "publisherName": "The White Horse Press" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Merlijn", "lastName": "Huntjens", "fullName": "Merlijn Huntjens", "biographies": [ { "biographyId": "5e70b51f-0ea4-4213-8915-8d7543272cee", "contributionId": "9a00cd36-fe4b-4197-8b79-69a79fcd1f33", "content": "Merlijn Huntjens is a writer. Between 2013 and 2018, Merlijn was active as a poetry slammer, performing widely in the Netherlands, Belgium and occasionally in Germany. In 2016, 2017 and 2018 he was in the finals of the NK poetry slam. Between 2017 and 2019, he was city poet of Heerlen. Merlijn is involved with Wintertuin and is a creator at PANDA. Poems of his regularly appear in literary magazines such as De Revisor, Tirade and Het Liegend Konijn and in 2022 his chapbook ‘De zee zwaait terug’ was released by Wintertuin.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 1, "contributor": { "orcid": null, "website": null }, "affiliations": [] }, { "contributionType": "AUTHOR", "firstName": "Nina", "lastName": "Willems", "fullName": "Nina Willems", "biographies": [ { "biographyId": "93177bff-e4f4-4777-9662-64447781e6f9", "contributionId": "64119e0a-e9ce-4c8d-9f2b-ae1ad1e34c71", "content": "Nina Willems graduated as a performer from the Maastricht Theatre Academy in 2011. With this background, she always seeks the boundaries of the discipline of theatre in her practice. She likes to work with makers from other (non-artistic) disciplines. Since graduating, she has mainly been working in Limburg. In 2015, she founded the literary organisation PANDA Collective, where she develops artistic and educational projects. She also works as a teacher at the Maastricht Theatre Academy and is part of the coordinating team of the directing course.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 2, "contributor": { "orcid": null, "website": null }, "affiliations": [] }, { "contributionType": "AUTHOR", "firstName": "Leonie", "lastName": "Cornips", "fullName": "Leonie Cornips", "biographies": [ { "biographyId": "a079fd79-2bd9-4d53-817a-9cc2304c0582", "contributionId": "c57066df-6e0a-4623-b282-8a01c7961186", "content": "Leonie Cornips is affiliated with the research group NL-Lab, Humanities Cluster of the Royal Netherlands Academy of Arts and Sciences (KNAW), and professor Languageculture in Limburg at Maastricht University. Since 1994 she has examined sociosyntax, methods in dialectology and bidialectal child acquisition. More recently her research focuses on local identity constructions through language practices including place-making and belonging. At present she examines intraspecies and interspecies interactions of dairy cows in various settings. She is conducting ethnographic fieldwork on various farms in the Netherlands.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 3, "contributor": { "orcid": "https://orcid.org/0000-0003-2408-6083", "website": null }, "affiliations": [ { "position": null, "affiliationOrdinal": 1, "institution": { "institutionName": "Royal Netherlands Academy of Arts and Sciences", "ror": "https://ror.org/043c0p156" } }, { "position": "Professor", "affiliationOrdinal": 2, "institution": { "institutionName": "Maastricht University", "ror": "https://ror.org/02jz4aj89" } } ] } ], "languages": [ { "languageCode": "ENG", "languageRelation": "ORIGINAL" } ], "publications": [], "fundings": [], "references": [] } }, { "relationType": "HAS_CHILD", "relationOrdinal": 10, "relatedWork": { "edition": null, "doi": "https://doi.org/10.63308/63878687083054.ch09", "publicationDate": "2025-07-01", "withdrawnDate": null, "workStatus": "ACTIVE", "license": "https://creativecommons.org/licenses/by-nc-nd/4.0/", "copyrightHolder": "Lisa Jean Moore", "generalNote": "[essay and photos]", "place": "Winwick, Cambs., UK", "firstPage": "180", "lastPage": "192", "pageCount": 13, "pageInterval": "180–192", "landingPage": "https://www.whpress.co.uk/publications/2025/03/04/meam-2/", "titles": [ { "titleId": "3bb1295a-8b3d-406a-a4fa-537b7e177b98", "localeCode": "EN", "fullTitle": "9. FREAKS OF NATURE: USING DEEP REFLEXIVITY TO UNDERSTAND TRANSGENICS", "title": "9. FREAKS OF NATURE", "subtitle": "USING DEEP REFLEXIVITY TO UNDERSTAND TRANSGENICS", "canonical": true } ], "abstracts": [ { "abstractId": "6b1b8c8e-884c-4286-9004-8fe3edcbb870", "workId": "9f3519fa-2be9-4904-969c-c43e97e69e72", "content": "The author defines herself as a medical sociologist who uses feminist qualitative methods to explore the entanglements of humans and non-human animals in a variety of ecological settings. In this paper, she explores the social, biological, sensorial and emotional entanglements of her relationship with transgenic goats. The first part of the paper exposes how and why artistic methods combine with her grounded theory and reflexive auto-ethnography approaches to produce news insights and enhance her production of ‘results’. For her, these creative methods are a way of deepening her understanding of the connection between mammals (human and non-human) and mothers (human and non-human) by blending her real-life experience with her imaginative speculation. The artistic techniques she uses are reading children’s books, vivid setting exercises and sensory free-writing, empathetic understanding and flirting with fiction. In the second part of the paper, she provides a piece of creative writing that indeed opens to new questions and offers new perspectives on the studied situation.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.70950/crossmark-policy", "publisher": { "publisherName": "The White Horse Press" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Lisa Jean", "lastName": "Moore", "fullName": "Lisa Jean Moore", "biographies": [ { "biographyId": "b25a6e0d-fe32-4b1b-b9ae-ecaec05a01ed", "contributionId": "b5ca3e27-dc26-450f-9bff-fb4caa4f1776", "content": "Lisa Jean is a feminist medical sociologist and SUNY Distinguished Professor of Sociology and Gender Studies at Purchase College, State University of New York. Her books include a multispecies ethnography of honeybees, Buzz: Urban Beekeeping and the Power of the Bee with Marin Kosut. In Catch and Release: The Enduring, yet Vulnerable, Horseshoe Crab she examines inter-species relationships between humans and Limulus polyphemus (Horseshoe Crabs). These arthropods are integral to the biomedical and pharmaceutical industry. Our Transgenic Future: Spider Goats, Genetic Modification and the Will to Change Nature is based on three years of fieldwork studying goats genetically modified with spider DNA. These spider goats operate as living factories and lactate spider silk for military and biomedical purposes. As she becomes more confident with multispecies ethnography, she increasingly uses her own lived experiences, as a postmenopausal mom and an anxious human being, to cultivate her empathy for other living things.
", "canonical": true, "localeCode": "EN" } ], "contributionOrdinal": 1, "contributor": { "orcid": "https://orcid.org/0000-0001-7572-575X", "website": null }, "affiliations": [ { "position": "SUNY Distinguished Professor of Sociology and Gender Studies at Purchase College", "affiliationOrdinal": 1, "institution": { "institutionName": "State University of New York", "ror": "https://ror.org/01q1z8k08" } } ] } ], "languages": [ { "languageCode": "ENG", "languageRelation": "ORIGINAL" } ], "publications": [], "fundings": [], "references": [] } }, { "relationType": "HAS_CHILD", "relationOrdinal": 11, "relatedWork": { "edition": null, "doi": "https://doi.org/10.63308/63878687083054.ch10", "publicationDate": "2025-07-01", "withdrawnDate": null, "workStatus": "ACTIVE", "license": "https://creativecommons.org/licenses/by-nc-nd/4.0/", "copyrightHolder": "Andrea Petitt", "generalNote": "[essay and poetry]", "place": "Winwick, Cambs., UK", "firstPage": "194", "lastPage": "201", "pageCount": 8, "pageInterval": "194–201", "landingPage": "https://www.whpress.co.uk/publications/2025/03/04/meam-2/", "titles": [ { "titleId": "6b34ca5b-101b-4b6a-bb38-973da4c3c41a", "localeCode": "EN", "fullTitle": "10.ETHNOGRAPHY OF WORKING COWHORSES: RHYMING SENSORY METHODS", "title": "10.ETHNOGRAPHY OF WORKING COWHORSES", "subtitle": "RHYMING SENSORY METHODS", "canonical": true } ], "abstracts": [ { "abstractId": "bfab8011-7b07-46ce-8a92-5bb8fea8bde5", "workId": "840ac026-69ac-448c-9d04-6121d7a9b64f", "content": "Drawing on a year of ethnographic fieldwork on working cattle ranches in the Rocky Mountain of Colorado, this ethnographic poem speaks to the multisensory and multispecies methods necessary to understand the power relations infused in the multispecies triad of human, horse and cow in a ranching setting. Arguing for pushing the frontier of sensory ethnography to include what Petitt has framed as ‘energy bubbles’, this piece strives to bring heightened attention to the dynamic nuances of non-human power performances. The rapstract typically breaks the ‘fourth wall’ in directly spelling out the analytical moves by its author, in addition to the elements of field poetry portraying the ethnographic setting. In addition, this rhyme also refers explicitly to method whilst simultaneously showcasing the artful method of rhyming/poetry itself.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.70950/crossmark-policy", "publisher": { "publisherName": "The White Horse Press" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Andrea", "lastName": "Petitt", "fullName": "Andrea Petitt", "biographies": [ { "biographyId": "36163723-88c0-4063-8039-b8b17a902a88", "contributionId": "6058d3ee-d138-41b9-a701-562e49a812ed", "content": "Andrea Petitt is currently working as a researcher at Laboratoire d’Anthropologie Sociale et Culturelle (LASC) at Université de Liège, Belgium, and is affiliated with the Centre for Gender Research at Uppsala University, Sweden. Andrea has worked on long-term multispecies ethnography research projects based on fieldwork in Botswana, Sweden and Colorado, with shorter stints in Nepal, Canada, Ethiopia and Tanzania. Increasingly, Andrea has worked with, and developed, artistic and ‘artful’ research methods for data collection, analysis and dissemination and has given a number of workshops on the subject for Ph.D. students and Faculty across Sweden and internationally. In 2022 Andrea instigated and co-founded together with Véronique Servais, Anke Tonnaer and Catrien Notermans the international MEAM network for Multispecies Ethnography and Artistic Methods. She led and co-organised with the same team an online MEAM workshop in 2022 as well as the hybrid inaugural MEAM conference in July Liège 2023.
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