Þjóðmyndir was a collaborative photography project carried out by individuals frequenting two social service organisations that work in close partnership in Ísafjörður, Iceland, under the guidance of the author. It offered participants an opportunity to express themselves creatively in the public sphere and aimed to engage them in participative processes of learning, creating and reflecting to this end. The project struggled with the participatory and collaborative research traditions that informed it, yet it defined its own, unique collaborative culture around the social learning that emerged from the participants’ entering into relation with and emotionally affecting one another. Consequently, it succeeded at creating a space for the processes of subject formation inherent to discussions of both collaborative research and social-relational affect. This paper examines instances of affect and collaboration particular to the project through the lens of disability studies in order to advance an understanding of the intersectional relevance of affect theory and collaborative methodologies to social care practice.

Abstract. Icelandic cultural heritage museology is embedded in a complex of social, political, and economic matters, at both the national and continental levels, that look to tourism as an opportunity for development in rural regions. The present paper draws on master's research that examined the relationships of Westfjords communities with two maritime heritage museums in the region. Two qualitative case studies based on in-depth, semi-structured interviews with heritage producers connected to each site were supplemented with additional qualitative data from a focus group comprised of five Westfjords residents. Open and closed coding schemes based on the condensation of transcripts into thematic units were used to analyze the data, thus producing descriptions of the representational ethos of each museum, and findings were subjected to ethical analysis. Both museums were found to reflect contemporary issues that are subject to debates about cultural identity, heritage, and representational style and ideology, while analysis revealed that there is a persistent danger of oversimplifying or distorting cultural representations, particularly where each museum has stakes in tourism. This was judged a potential disservice to the nuanced identities of local communities, and a recommendation was put forth for museums to engage conscientiously with questions of identity and cultural representation.