This article discusses how an aspect of urban environments - sound and noise - is experienced by people walking in the city; it particularly focuses on atypical populations such as people diagnosed with psychosis, who are reported to be particularly sensitive to noisy environments. Through an analysis of video-recordings of naturalistic activities in an urban context and of video-elicitations based on these recordings, the study details the way participants orient to sound and noise in naturalistic settings, and how sound and noise are reported and reexperienced during interviews. By bringing together urban context, psychosis and social interaction, this study shows that, thanks to video recordings and conversation analysis, it is possible to analyse in detail the multimodal organization of action (talk, gesture, gaze, walking bodies) and of the sensory experience(s) of aural factors, as well as the way this organization is affected by the ecology of the situation.

Cultural geography and the related disciplines of urban sociology and anthropology have long focused their theoretical lenses on the city as a space of lived multiplicity. This photographic essay focuses its lens on the home as such a space. During the pandemic lockdown of 2020-2021, many of us spent more time in our homes than we ever had before, working, teaching, schooling, shopping, and barricading ourselves from the outside world. This essay borrows from the often ambiguous and anonymizing aesthetics of street photography to depict the multiple, overlapping worlds of home during a pandemic. Home, as depicted here, is an always unfinished process of affective assemblage and dissolution. The images featured seek to capture that lack of resolution, the messy emotional texture of home life under lockdown.

This article addresses the challenges and opportunities associated with the development of new visual communication practices and outputs, using an example of such work conducted in a UK interdisciplinary applied health project. Reflecting on his role as co-researcher and practice as a visual ethnographer in the study, the author argues that new visual communication practices may emerge from 'mess' and even ugliness. In the case discussed, the author comes to terms with mess and elements of failure as potential phenomena of learning through a process of Sensemaking (see Weick's , 1995), by applying innovative visual methods to the approach. Through his version of visual Sensemaking, the author identifies a set of principles to inform innovation in collaborative, interdisciplinary visual communication.