Luke Dickens’s research while affiliated with King's College London and other places

Renewed interest in the critical geographies of education has raised productive yet under-examined synergies with reflections taking place among radical youth work and participatory research practitioners. In particular, such intersections point to important ways that the geographical imagination might advance a critical yet creative means of learning through the living material forces of everyday worlds. This paper examines this common ground through a collaborative, London-based case study exploring young people's sense of home and belonging in the inner-city. It argues that cross-overs between the praxis of participatory research and youth work offer generative potential to act alongside young people in the production of autonomous geographical knowledges. Specifically, the case is made for prioritising an imaginative, experiential and intersubjective pedagogical process of “world making”, as an alternative to practices that intervene in, act upon and ultimately “other” the everyday lives of young people.

Analyses of contemporary processes of gentrification have been primarily produced from adult perspectives with little focus on how age affects or mediates urban change. However, in analysing young people's responses to transformations in their neighbourhood we argue that there is evidence for a more complex relationship between 'gentrifiers' and residents than existing arguments of antagonism or tolerance would suggest. Using a participatory video methodology to document experiences of gentrification in the east London borough of Hackney, we found that young people involved in this study experienced their transforming city through processes of spatial dislocation and affective displacement. The former incorporated a sense of disorientation in the temporal disjunctions of the speed of change, while the latter invoked the embodiment of a sense of not belonging generated within classed and intercultural interactions. However, there are expressions of ambivalence rather than straightforward rejection. Benefits of gentrification were noted, including conditions of alterity and the possibility to transcend normative behaviours that they found uncomfortable. Young people demonstrated the capacity to reimagine their relationship with the complex spaces they call home. The findings suggest a need to reframe debates on gentrification to include a more nuanced understanding of its differential impact on young people.

Recent work in human geography has articulated the principles of an emerging ‘participatory ethics’. Yet despite sustained critical examination of the participatory conditions under which geographical knowledge is produced, far less attention has addressed how a participatory ethics might unsettle the conventional ways such knowledge continues to be received, circulated, exchanged and mediated. As such, the uptake of visual methods in participatory research praxis has drawn a range of criticism for assuming visual outputs ‘tell their own stories’ and that publics might straightforwardly engage with them. In response, this paper develops an argument for adopting an ethical stance that takes a more situated, processual account of the ways participants themselves might convene their own forms of public engagement, and manage their own conditions of becoming visible through the research process. To do so the concept of an ethics of recognition is developed, drawing attention to the inter- and intra-subjective relations that shape the public research encounter, and signalling ways that participants might navigate such conditions in pursuit of their intuitive desire to give an account of themselves to others. This ethical stance is then used to rethink questions of visibility and publicness through the conditions of reception, mediation and exchange that took place during the efforts of a London-based participatory research project to ‘go public’. Drawing in particular on the experiences of one of the project participants, we suggest how a processual and contingent understanding of public engagement informed by such an ethics of recognition might be anticipated, approached and enacted.

This article considers the processes of musical learning that take place across formal, non-formal and informal contexts and spaces. Building on notions of embodied knowledge, identity and culture within education studies, specifically the concept of ‘musical habitus’, this article explores processes of access, inclusion and appropriation of music learning environments. Based on focus group discussions with a diverse group of young Londoners (aged 16-25 years) taking part in Wired4Music, a publicly funded youth leadership programme, the article considers definitions and the significance of music and learning places to these emerging musicians. This includes the processes through which musical learning takes place and the relevant factors that contribute to productive learning. Often operating within a context of subsidised arts provision, these perspectives are also considered within the current cultural policy landscape in England. Participants described implicit and explicit processes of exclusion to some formal music education settings and approaches, whereby a less formal though still intentional approach to learning was enacted in response. This included re-appropriating spaces and creating music in communities of practice, embracing multi-modal approaches to learning across art forms and genres and self-directing learning opportunities. These findings strongly resonate with studies which have critically appraised the specific sites and spaces where education takes place, as well as those suggesting that theories of identity, taste and cultural consumption should also be considered in education praxis, whether formal, non-formal or informal.

Findings from the Creating Hackney as Home project (ESRC, 2013-15), summarising: • how young people experience urban transformation and its impact on their sense of belonging; • how young people negotiate and manage these changes in order to maintain their sense of home; • and the effectiveness of participatory visual research methods in portraying this experience.

Among the most deep-seated anxieties of the Internet age is the fear of technologically produced forgetting. Technology critics and sociologists of memory alike argue that daily exposure to overwhelming flows of information is undermining our ability to connect and synthesize past and present. Acknowledging the salience of these concerns our approach seeks to understand the contemporary conditions of collective memory practice in relation to processes of digitization. We do so by developing an analysis of how digital technologies (image and audio capture, storage, editing, reproduction, distribution and exhibition) have become embedded in wider memory practices of storytelling and commemoration in a community setting: the Salford Lads Club, an organization in the north of England in continuous operation since 1903. The diverse memory practices prompted by the 100th anniversary of the Club's annual camp provide a context in which to explore the transformations of access, interpretation and use, that occur when the archives of civic organizations are digitized. Returning to Halbwachs' (1992) seminal insight that all collective memory requires a material social framework, we argue, contrary to prevailing characterizations of digitization, that under specific conditions, digital resources facilitate new forms of materialization that contribute to sustaining a civic organization's intergenerational continuity.

This article argues against the assumption that agency and reflexivity disappear in an age of ‘algorithmic power’ (Lash 2007). Following the suggestions of Beer (2009), it proposes that, far from disappearing, new forms of agency and reflexivity around the embedding in everyday practice of not only algorithms but also analytics more broadly are emerging as social actors continue to pursue their social ends but mediated through digital interfaces: this is the consequence of many social actors now needing their digital presence, regardless of whether they wants this, to be measured and counted. The article proposes ‘social analytics’ as a new topic for sociology: the sociological study of social actors’ uses of analytics not for the sake of measurement itself (or to make profit from measurement) but in order to fulfil better their social ends through an enhancement of their digital presence. The article places social analytics in the context of earlier debates about categorization, algorithmic power, and self-presentation online, and describes a case study with a UK community organization which 2 developed the social analytics approach in detail. The article concludes with reflections on the implications of this approach for further sociological fieldwork in a digital world.

This chapter focuses on how policies of youth voice and participation are enacted within music projects seeking to develop young people’s emotional literacy and provide platforms for them to be heard. It begins with a discussion of the policy structures relating to participatory arts, strategies of inclusion and social learning in the non-formal education sector, and notions of access to cultural opportunities as adopted by Arts Council England (ACE). Within this policy context, a tension is identified whereby the generally more open, inclusive and universal understandings of cultural production within the aims of youth participation — discussed here as a form of cultural democracy — are challenged by a dominant discourse within arts policy in England, which appears to focus on creating access to, and learning from, predetermined ‘great art’, or what might be seen as the democratisation of (high) culture. This is associated with a further, long-standing tension between an intrinsic view of the benefits of participating in ‘art for art’s sake’ and a more instrumental view of art as providing a ‘vehicle’ for broader development (see Rimmer, 2009 for a detailed discussion of these issues in relation to young people’s musical participation). However, it appears that the overarching discourse that participation in apparently ‘great art’ can somehow be redemptive (i.e. an elitist instrumentalism) is creeping back into policy frameworks at the same time as participatory and culturally democratic aims are being operationalised.

This article examines the emergence of new, inter-local spaces of news production and consumption, drawing on extensive fieldwork and interviews with community reporters trained by a community reporter organisation based in the north of England. Practices of news production and content generation are focused on people's own communities and they are underpinned by an ethos of production, which is grounded in a critical consumption of news and collective processes of skill acquisition. Through an analysis of motivations and practices, we account for the values that sustain community reporter communities and discuss how such practices, while emerging from the place of local community, also extend across wider communities of interest. It is suggested that an evolving practice of skill sharing and mutual recognition could potentially stimulate the regrowth of democratic values.