Transidioethography is a transdisciplinary practice that engages in a
multimedia study and exploration of one’s own cultural milieu
through experiential fieldwork.
"Idio" is Greek from idios, one’s own, personal,
id·i·o·syn·crat·ic, adjective, pertaining to the nature of
idiosyncrasy, or something peculiar to an individual. "Trans" is a
prefix occurring in loanwords from Latin (transcend;transdisciplinary,
transgressive); “transverse,” in trāns (adv. and preposition)
across, beyond, through.
Ethnography is the scientific description of
the customs of peoples and cultures.
Transidioethnography is a neologism conceived in England 2012 to
describe a transdisciplinary practice that fuses autoethnographic
field work, ethnographic practice and multimedia arts. The prefix
"trans" suggests liminality, a quality of 'in between-ness', valuing
cultures 'in between' predominant cultures.
Notable contributions have been Wright and Schneider's book
Contemporary Art and Anthropology and more recently Berg's Between Art
and Anthropology: Contemporary Ethnographic Practice.
"Between Art and Anthropology provides new and challenging arguments
for considering contemporary art and anthropology in terms of
fieldwork practice. Artists and anthropologists share a set of common
practices that raise similar ethical issues, which the authors explore
in depth for the first time. The book presents a strong argument for
encouraging artists and anthropologists to learn directly from each
other's practices 'in the field'. It goes beyond the so-called
'ethnographic turn' of much contemporary art and the 'crisis of
representation' in anthropology, in productively exploring the
implications of the new anthropology of the senses, and ethical
issues, for future art-anthropology collaborations..."
Hal Foster's essay "The Artist as Ethnographer" in The Return of the
Real, compares the contemporary Artist-Ethnographer with Walter
Benjamins "Author as Producer". He notes that as the author is bound
to her patron, so, often is the artist bound to her sponsor, who may
re-code the work as public engagement or even 'self-critique',
inoculating it from critique from outside the institution. Despite
these valid points, Foster admits that the collaboration between
artists and communities have often resulted in illuminating results,
such as recovering suppressed histories.
The concept of Autoethnography, a self-taught, or folk ethnography of
one's own culture is discussed in Danahay's book Auto-Ethnography
can be seen as a more reflexive, subjective recording of first-hand
experience, surmounting the traditional observer-observed relationship
in traditional Ethnography.
Transidioethnography at Google Books
^ Wright. C, Schneider. A