One thing is certainly clear: although the films of the SEL have been described as ‘observational’, and with good reason, they are very different in terms of their underlying praxis to the films of Observational Cinema. But with these caveats, certain general characteristics can be discerned. As with this book as a whole, the time frame of this chapter pertains only up until 2015, and their most recent work will most probably require some further refinement of the arguments and analyses presented here. Furthermore, their work is constantly evolving and diversifying, making any generalisation perilous. At the same time, these films have contributed to a lively debate within academia about the very nature of ethnographic film-making and, indeed, of ethnography more generally.
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Since its establishment in 2006, the Sensory Ethnography Lab at the University of Harvard (henceforth the SEL) has been responsible for an impressive series of innovative and technically accomplished films, a number of which have vaulted the frontiers of academia and been widely distributed through festivals and even general cinema release, mostly to critical acclaim in the mass media. Propositions are then explored in relation to some of the best-known works The conception of ethnography on which this book is based. It is argued that in these regards their work,Ĭollectively, is set upon a trajectory carrying them progressively away from Interest in relating those beliefs or sentiments to social relations, Also as in Gardner’s work,īoth language and concern for communicating what the subjects think or feelĪbout the world are of secondary importance. Generally high technical quality of their films. The attention given to visual aesthetics and to sound editing, and in the Institutional predecessor, Robert Gardner. Is very diverse and constantly innovative, making generalisation perilous.īut allowing for numerous possible exceptions, it is suggested that thereĪre various continuities between their praxis and that of their
Initially, the institutionalĬontext and the ideas informing the work of the SEL are described. Impact both inside and beyond the academy. For those celebrities who haven’t claimed their account and personalized coin, the accounts are marked “Reserved”.To unravel some of the details of this project, we spoke with Mario Nawfal, Evangelist for BitClout.When asked what factors he felt are driving the buzz around BitClout, Nawfal said:“The amount of capital flowing into the platform, the investors backing it (and) the celebrities joining it on a regular basis.This chapter considers the work of the Sensory Ethnography Lab (SEL),Įstablished at Harvard University in 2006 and which has had a dramatic Perhaps it’s due to the involvement of certain notable individuals like Elon Musk, Ariana Grande, Kim Kardashian, Rihanna, Ellen DeGeneres, and Lady Gaga.In this case, rather than generating passive income, BitClout is generating passive involvement for potentially thousands of celebrities and influencers who are on the BitClout platform, complete with their own username, profile picture, bio, coin, a valuation, reserve, and market cap - all through no action on the part of celebs who ostensibly own these accounts and some portion of the coins.There are a few celebrities who have been persuaded by the value of “their” coins to support the platform (including Jake Paul and Tiffany Trump). The innovative and irregular path to growth for the latest social media platform on blockchain and nearly 15,000 celebs who unwittingly play a role.If Jake Paul jumped off a bridge, or onto a new Twitter facsimile, would you join him? And would it impact the overall value of his brand for fractional sale in crypto?BitClout is giving social media users and crypto enthusiasts the chance to ask and answer these questions, not just in relation to Jake Paul but for all top 15,000 Twitter accounts, ranked by followers.BitClout launched about 6 weeks ago, and has garnered more attention than a typical brand new blockchain project.
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