Working with a camera means engaging with an already troubled material and photography's history of voyeurism, othering, and violence. The language and conventions of photography tend to emphasize images that are ‘captured’ and a gaze that objectifies. However, in discussing a photography project that took place over several months at a Canadian early childhood center, this article explores what it might mean not to erase the camera's voyeuristic gaze and photography's colonial histories, but to play with them. In improvising with the camera we engage in a world, not of subjects and objects, binaries of perceiver and perceived, but rather various materialities, material relations, compositions, intra-actions and lively entanglements.
Indigenous and decolonising geographies should be unsettling and challenging to the ontological foundations of the geographical discipline. Yet despite many scholars recognising and arguing for the...
Little is known firsthand about men's experiences of eating, because most empirical accounts on the meanings of food and eating come from studies of women. The qualitative research reported here explores how Norwegian men relate to food consumption. The findings consider how gender and occupational status explain men's relationship to food. Semi-structured interviews were conducted in 2001–2003, in Oslo, with 20 carpenters, 15 engineers, and 11 drivers. Eating was often portrayed as an untroubled routine and only occasionally was food conceived as problematic for health. Food was part of pleasure on weekends, but most men distanced themselves from a “gourmet” discourse. This study suggests that underlying structural factors of gender and class expectations effect how men talk about eating.