Titlebook: Massive/Micro Autoethnography; Creative Learning in Daniel X. Harris,Mary Elizabeth Luka,Annette N. Ma Book 2022 The Editor(s) (if applicab

anachronistic

Spongy-Bone

Studio as Liminal Space, Autoethnography: Creative responses to COVID-19” project prompt on the second day of the experiment that asked us to consider objects with which we have spent time. This autoethnographic writing process was a generative mechanism for my artistic practice. Through a series of paintings of my studio

危險

Painting to Live Through Sympoiesis,ng Covid-19. My abstract painting is a testament to artmaking with others in this project. Sympoiesis speaks to interconnected ecologies and relational landscapes as I seek to make sense of the human and the non-human through my artmaking and poetry. The colours, gestural marks, textures, and words

DRAFT

聯(lián)想

Comics, Sensemaking, and Gutters: Finding and Losing the Self in Times of COVID-19,f what has been, and the unknown of what will be. The writing in this chapter shifts between present thoughts and past experiences to illustrate how such disorientation manifests in the everyday, and how I’m rhythmically finding and losing my sense of self, my interpersonal connections, and my compr

FER

Ordnance

PLE

Roadkill, American Style: A Performative Reflexive Autoethnography Through Embodied Imagination, Phe autoethnography responds through embodied imagination, photography, and poetry. During a time in the United States of great uncertainty, inequality, misunderstanding, corruption, and violence, all levels of government failed to act effectively quickly enough to meet the demands of the COVID-19 eme

cartilage

CAMP

Triple AAA Ra(n)ting: A is for ____________,ment (Markham and Harris in Qualitative Inquiry, 1–13, .), collaborating through . (Murray in Neologism of the day: Cabination, .) we made a Braided Work in response to Prompt 21. AAA Ra(n)ting is an amputated concordance to that piece. “Compositionality itself is strange—a stranger,” writes Kathlee