Animism is the belief that objects, places, and creatures all possess a distinct spiritual essence. Animism perceives all things—animals, plants, rocks, rivers, weather systems, human handiwork, and in some cases words—as being animated, having agency and free will. Animism is used in anthropology of religion as a term for the belief system of many Indigenous peoples in contrast to the relatively more recent development of organized religions. Animism is a metaphysical belief which focuses on the supernatural universe : specifically, on the concept of the immaterial soul.
"Do it yourself" ("DIY") is the method of building, modifying, or repairing things by oneself without the direct aid of professionals or certified experts. Academic research has described DIY as behaviors where "individuals use raw and semi-raw materials and parts to produce, transform, or reconstruct material possessions, including those drawn from the natural environment ". DIY behavior can be triggered by various motivations previously categorized as marketplace motivations, and identity enhancement.
Jarai people or Jarais are an Austronesian indigenous people and ethnic group native to Vietnam's Central Highlands, as well as in the Cambodian northeast Province of Ratanakiri. During the Vietnam War, many Jarai persons, as well as members of other Montagnard groups, worked with US Special Forces, and many were resettled with their families in the United States, particularly in North Carolina, after the war.
Critical ethnography applies a critical theory based approach to ethnography. It focuses on the implicit values expressed within ethnographic studies and, therefore, on the unacknowledged biases that may result from such implicit values. It has been called critical theory in practice. In the spirit of critical theory, this approach seeks to determine symbolic mechanisms, to extract ideology from action, and to understand the cognition and behaviour of research subjects within historical, cultural, and social frameworks.
DiY-Fest "the touring carnival of Do-it-Yourself mediamaking" was a festival of ultra-independent movies, books, zines, music, poetry, and performance art that ran from 1999 until 2002.
Participatory video (PV) is a form of participatory media in which a group or community creates their own film. The idea behind this is that making a video is easy and accessible, and is a great way of bringing people together to explore issues, voice concerns or simply to be creative and tell stories. It is therefore primarily about process, though high quality and accessible films (products) can be created using these methods if that is a desired outcome. This process can be very empowering, enabling a group or community to take their own action to solve their own problems, and also to communicate their needs and ideas to decision-makers and/or other groups and communities. As such, PV can be a highly effective tool to engage and mobilise marginalised people, and to help them to implement their own forms of sustainable development based on local needs.
Participatory culture, an opposing concept to consumer culture, is a culture in which private individuals do not act as consumers only, but also as contributors or producers (prosumers). The term is most often applied to the production or creation of some type of published media.
Hauntology is a range of ideas referring to the return or persistence of elements from the social or cultural past, as in the manner of a ghost. The term is a neologism first introduced by French philosopher Jacques Derrida in his 1993 book Specters of Marx. It has since been invoked in fields such as visual arts, philosophy, electronic music, anthropology, politics, fiction, and literary criticism.
An ethnographic film is a non-fiction film, often similar to a documentary film, historically shot by Western filmmakers and dealing with non-Western people, and sometimes associated with anthropology. Definitions of the term are not definitive. Some academics claim it is more documentary, less anthropology, while others think it rests somewhere between the fields of anthropology and documentary films.
A hackerspace is a community-operated, often "not for profit", workspace where people with common interests, such as computers, machining, technology, science, digital art, or electronic art, can meet, socialize, and collaborate. Hackerspaces are comparable to other community-operated spaces with similar aims and mechanisms such as Fab Lab, men's sheds, and commercial "for-profit" companies.
The Hamilton Underground Film Festival was an annual film festival held in Hamilton, New Zealand between 2006 and 2013. Run on the basis of a DIY ethos the festival was open to all and had no admission fee for film entries. Each entrant received a DVD which contains all the entered films. The festival was the longest running festival of its kind in Australasia until recent usurped by the Melbourne underground film festival.
Do-it-yourself biology is a biotechnological social movement in which individuals, communities, and small organizations study biology and life science using the same methods as traditional research institutions. DIY biology is primarily undertaken by individuals with limited research training from academia or corporations, who then mentor and oversee other DIY biologists with little or no formal training. This may be done as a hobby, as a not-for-profit endeavor for community learning and open-science innovation, or for profit, to start a business.
The maker culture is a contemporary subculture representing a technology-based extension of DIY culture that intersects with hardware-oriented parts of hacker culture and revels in the creation of new devices as well as tinkering with existing ones. The maker culture in general supports open-source hardware. Typical interests enjoyed by the maker culture include engineering-oriented pursuits such as electronics, robotics, 3-D printing, and the use of computer numeric control tools, as well as more traditional activities such as metalworking, woodworking, and, mainly, its predecessor, traditional arts and crafts.
Ethnocinema, from Jean Rouch’s cine-ethnography and ethno-fictions, is an emerging practice of intercultural filmmaking being defined and extended by Melbourne, Australia-based writer and arts educator, Anne Harris, and others. Originally derived from the discipline of anthropology, ethnocinema is one form of ethnographic filmmaking that prioritises mutuality, collaboration and social change. The practice's ethos claims that the role of anthropologists, and other cultural, media and educational researchers, must adapt to changing communities, transnational identities and new notions of representation for the 21st century.
Participatory evaluation is an approach to program evaluation. It provides for the active involvement of stakeholder in the program: providers, partners, beneficiaries, and any other interested parties. All involved decide how to frame the questions used to evaluate the program, and all decide how to measure outcomes and impact. It is often used in international development.
Critical making refers to the hands-on productive activities that link digital technologies to society. It was invented to bridge the gap between creative, physical, and conceptual exploration. The purpose of critical making resides in the learning extracted from the process of making rather than the experience derived from the finished output. The term "critical making" was popularized by Matt Ratto, an associate professor at the University of Toronto. Ratto describes one of the main goals of critical making as a way "to use material forms of engagement with technologies to supplement and extend critical reflection and, in doing so, to reconnect our lived experiences with technologies to social and conceptual critique." "Critical making", as defined by practitioners like Matt Ratto and Stephen Hockema, "is an elision of two typically disconnected modes of engagement in the world — "critical thinking," often considered as abstract, explicit, linguistically based, internal and cognitively individualistic; and "making," typically understood as tacit, embodied, external, and community-oriented."
DIY networking is an umbrella term for different types of grassroots networking, such as wireless community network, mesh network, ad-hoc network, stressing on the possibility that Wireless technology offers to create "offline" or "off-the-cloud" local area networks (LAN), which can operate outside the Internet. Do it yourself (DiY) networking is based on such Wireless LAN networks that are created organically through the interconnection of nodes owned and deployed by individuals or small organizations. Even when the Internet is easily accessible, such DiY networks form an alternative, autonomous option for communication and services, which (1) ensures that all connected devices are in de facto physical proximity, (2) offers opportunities and novel capabilities for creative combinations of virtual and physical contact, (3) enables free, anonymous and easy access, without the need for pre-installed applications or any credentials, and (4) can create feelings of ownership and independence, and lead to the appropriation of the hybrid space in the long-run.
Maker's Asylum is a makerspace / hackerspace which started in Mumbai back in 2013 and is now headquartered in Goa, India, inspired by Artisan's Asylum, Chaos Computer Club and other maker organisations.
Psychic worker is the term first used around 2010 by the DAMTP to self define as a union of Data miners and psychic workers. The term was used initially to describe their activities instead of using the term 'artist', in order to "supersede the art strike.". It has subsequently also been used by members of DAMTP to describe and develop their avant-garde activities.
Techno-animism or technoanimism is a culture of technological practice where technology is imbued with human and spiritual characteristics. It assumes that technology, humanity and religion can be integrated into one entity. As an anthropology theory, techno-animism examines the interactions between the material and the spiritual aspects of technology in relation to humans. Techno-animism has been studied in the context of Japan, since techno-animism traces most of its roots to the Shinto religion, and also in DIY culture where Actor–network theory and non-human agencies have been labeled as techno-animist practices.
