Linganisha mbinu
Pitia mbinu ulizochagua bega kwa bega; safu zinazotofautiana zinaangaziwa.
| Controversy Mapping× | Actor-Network Theory Analysis× | |
|---|---|---|
| Nyanja | Science Technology Studies | Science Technology Studies |
| Familia | Process / pipeline | Process / pipeline |
| Mwaka wa asili≠ | 2010 | 1984 |
| Mwanzilishi≠ | Bruno Latour (Sciences Po médialab); codified by Tommaso Venturini | Bruno Latour, Michel Callon, John Law |
| Aina≠ | Qualitative descriptive method and pedagogy | Material-semiotic theory and analytic method |
| Chanzo asilia≠ | Venturini, T. (2010). Diving in magma: how to explore controversies with actor-network theory. Public Understanding of Science, 19(3), 258-273. DOI ↗ | Latour, B. (2005). Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford University Press. ISBN: 9780199256051 |
| Majina mbadala | Cartography of controversies, Mapping scientific controversies, Controversy analysis | ANT analysis, Sociology of translation, Actant-network mapping |
| Zinazohusiana | 4 | 4 |
| Muhtasari≠ | Controversy mapping is a descriptive method for exploring and representing socio-technical disputes while they are still open and unsettled, before they harden into accepted facts or stable technologies. Developed as a teaching practice by Bruno Latour and codified by Tommaso Venturini at the Sciences Po médialab, it asks the analyst to dive into the heat of a debate, follow the actors and their arguments without prematurely taking sides, and render the resulting complexity legible through maps and visualisations. It treats controversy not as a pathology to be resolved but as the privileged moment in which the social and the technical are visibly being assembled. | Actor-Network Theory analysis treats society and technology as a single woven fabric, mapping how heterogeneous human and non-human actors—engineers, scallops, documents, machines, regulators—are linked into networks through a process of translation. Rather than explaining technical outcomes by appeal to pre-given social categories, ANT follows the actors themselves and describes how durable arrangements are assembled, stabilised, and sometimes undone. |
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