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This article draws on five participatory action research studies to address how geomedia theory can induce multiple imaginations of the future. Critical future research advocates that societies need to collectively create visions of multiple futures, transcending the single rational (neoliberal) future path. The studies were conducted in collaboration with rural communities and local tourism entrepreneurs who were exploring geomedia technologies to develop destinations. The tourism sector uses geomedia technologies but often depends on commercial platforms that seek upscaling and generalisation, becoming detached from local practices and place-specific settings. By applying critical geomedia studies, we problematised the relationship between people, place, and technology in the present, the past, and the future. Geomedia studies provided a critical lens that provoked future visions beyond preformatted technological infrastructures and media practices. The participants were asked to engage with complex issues such as access, restrictions, equality, authority, and legitimacy in relation to the specific place, bringing forth a multitude of local assets and narratives envisioning alternative geomedia technologies. As a result of this process, participants paid greater attention to local assets, gained a more critical approach towards technology, and dared to use digital solutions in a more visionary manner. We, therefore, argue that researchers need to engage with society to bypass hegemonic geomedia representations. By illustrating how geomedia theory can be utilised within community development, we provide a framework for how collaborative research can more explicitly engage with local actors’ thoughts and imaginings of possible futures.

Over the last decade, the music industry has adapted its promotional strategy to take advantage of the fluid, contemporary, platform-based transmedia landscape. For researchers of contemporary culture, the multiplicity of promotional activities creates substantial methodological challenges. In this article, we present and discuss such methodological approaches using two studies of contemporary promotional music campaigns as illustrative cases. Inspired by digital and innovative methods and guided by the Association of Internet Researchers’ (AoIR’s) ethical guidelines, we developed two data collection strategies—reversed engineering and live capturing—and applied two analytical approaches—visual mapping and time-based layering. The first case study traced already staged music marketing campaigns across multiple online media platforms, and the second followed an online promotional campaign in real time for six months. Based on these case studies, we first argue for the importance of grounded manual capturing and coding in data collection, especially when working around data access limitations imposed by platforms. Second, we propose reversed engineering and live capturing as methods of capturing fragmented data, in contemporary promotional campaigns. Third, we suggest the visual mapping and time-based layering of data, enabling researchers to oscillate between qualitative and quantitative data. Finally, we argue that researchers must pool their experiences and resources regarding how to transcend platform limitations and question a lack of transparency while respecting ethical norms and guidelines. With these arguments, we assert the researcher’s necessary role in understanding and explaining the complex and hybrid contemporary promotional landscape and provide tools and strategies for further research.