There is growing interest in "more-than-human" influences on places and practices. However, while the theoretical thinking in this field is well developed, methodology and methods lag behind. Borrowing insights from feminist geographers' articulation of "response", we explore how participatory photography can be used to examine more-than-human processes through a case study of marginal homemaking in Khulna city in Bangladesh. Our photo-response method focuses on performances of seeing, telling and being together to enhance the co-production of "knowledges". We conclude that analysing three stages of "response" within participatory photography provides new insights for conducting research in, with and as more-than-human worlds.
K E Y W O R D SBangladesh, home, more-than-human, participatory photography, photo-response, visual method
| INTRODUCTIONThere is growing interdisciplinary interest in "more-than-human" scholarship, recognising the contribution of non-human agencies in shaping places and practices (Bawaka Country et al., 2013, 2015. However, while theoretical thinking in this field is well developed, methodology and methods lag behind (Lorimer, 2010, p. 238). In order to better appreciate morethan-human lived interactions, there is an urgency "to supplement the familiar . . . humanist methods that rely on generating talk and text with experimental practices" (Whatmore, 2006, p. 607). Donna Haraway (1988) is one of the earliest proponents calling for a mode of response that helps "situate" the human knower in relation to more-than-human "others". Situated response can "amplify other sensory, bodily and affective registers" (Whatmore, 2006, p. 606) in attending to what is in excess of human and highlight the agencies of those "left outs" that co-constitute places and practices (Whatmore, 2002, p. 126).In this paper, we take up this challenge of situating response to explore the "more-than-human" theme in geographic research using visual methods. Feminist scholars have long been exploring how images can disrupt the dominant (often masculine) gaze and take part in the discursive production of geographical knowledge (Rose, 1996). Images allow for those being researched to explore and express emotional responses to and contemplations of the immediate environment, expanding the scope of exploration. Participatory photography is recognised as a particularly useful visual method for engaging marginalised communities with a means "to present their place and view of the world" (Lombard, 2013, p. 23). Borrowing insights from feminist and cultural geographers' notion of "response" (Bawaka Country et al., 2013;Haraway, 1988Haraway, , 2003, we explore the opportunities of participatory photography for witnessing and evoking human-nature interactions in a marginalised setting in Bangladesh. We use the term "photo-response" to describe the method developed to focus on the more-than-human dimensions of home and homemaking practices. We propose three moments of response: response to the camera; response to the images caught...