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Kevin Ah-Sen
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Papers by Kevin Ah-Sen
ularization of videomaking in participatory visual research, a genre of
arts-based method, with a particular emphasis on the regime of extraction
that is ignored in one of its most significant steps: recording. Often ren-
dered as a visual metaphorical substitute or a backdrop, the author dis-
cusses how colonial relations to the built and natural environments have
set the conditions for extractive practices where audio-visual recording as
a form of capture demands a reimagined relational ethics to place. Within
this extractive relation, the author observes how built and natural envi-
ronments are understood as readily available and unlimited aesthetic
resources for artmaking. This intervention seeks not to be prescriptive
but rather offers a descriptive account of the epistemological and onto-
logical contradictions in the current celebration of innovative approaches
to research in education.
ularization of videomaking in participatory visual research, a genre of
arts-based method, with a particular emphasis on the regime of extraction
that is ignored in one of its most significant steps: recording. Often ren-
dered as a visual metaphorical substitute or a backdrop, the author dis-
cusses how colonial relations to the built and natural environments have
set the conditions for extractive practices where audio-visual recording as
a form of capture demands a reimagined relational ethics to place. Within
this extractive relation, the author observes how built and natural envi-
ronments are understood as readily available and unlimited aesthetic
resources for artmaking. This intervention seeks not to be prescriptive
but rather offers a descriptive account of the epistemological and onto-
logical contradictions in the current celebration of innovative approaches
to research in education.