Relational accountability in Indigenizing visual research for participatory communication

This article argues that an indigenous approach to communication research allows us to re-think academic approaches of engaging in and evaluating participatory communication research. It takes as its case study the Komuniti Tok Piksa project undertaken in the Highlands of Papua New Guinea. The project explores ways in which visual methods when paired with a community action approach embedded within an indigenous framework can be used to facilitate social change through meaningful participation. It involves communities to narrate their experiences in regard to HIV and AIDS and assists them in designing and recording their own messages. Local researchers are trained in using visual tools to facilitate this engagement with the communities.

Visual research and visual analysis

Understand representation and basic semiotic theory i.e. signs, meaning and myth Use visual analysis to decode an image

‘The project cannot be approved in its current form’: feminist visual research meets the human research ethics committee

This article reflects on a university human research ethics committee’s unease regarding a feminist visual pilot study within the field of education. The small exploratory study proposed to explore a migrant mother’s production of her son’s identity through her family photograph collection. The committee requested substantial changes to the research design which centred primarily on their concerns regarding risk of harm to pre-existing relationships, and also issues of anonymity and consent. I consider the combined liberal individualist, utilitarian and positivist biomedical basis for the ethics committee’s discomfort with the proposed research which was to involve members of my family. I draw on my experience of the review process to critique the human research ethics committee paradigm which constructs the ideal researcher as an objective and disinterested observer, hinges on a weighing of risks and benefits, and considers humans to be independent and equal. I demonstrate how the blanket application of these values acts to problematise some kinds of research, and how these values can be inappropriate, incompatible and even destructive when applied to research proposals that are exploratory, visual, and/or involve the researcher’s family members as participants.

Visual research methods in education: in between difference and indifference

The aim of this paper is to support critical and scholarly debates that relate to the increasing role of visual research in education, youth studies, sociology, and studies of mental health. Researching in fields where young people are central exposes many struggles, not least issues of how to represent students who end up on the margins. School disaffection intersects with curriculum practices. When threading together visual research methods and matters of curriculum studies, seduction can set in, and unintentionally curriculum research can become indifferent to difference, the counterpoint often sought by researchers. Some scholars may argue that this debate has been well rehearsed in the curriculum field; I, however, take the opposite view. The constraints of curriculum studies, issues of student disaffection and the exclusions of schooling - when analysed through the perspectives of visual research - trouble our research designs and understandings of data and therefore require more, not less, interrogation. Rethinking the intersection points between visual research methods (VRM) and visuality, a concept that is critical to cultural and visual studies, opens out new spaces in the field of curriculum studies and reframes the methodological decisionmaking process for researching issues that pertain to student disaffection. 

Unofficial truths and everyday insights:understanding voice in visual research with the children of accra's urban poor

This article draws upon the use of photography to research the lives of children living in Accra, Ghana. Its aim is to consider method in visual research, and to reflect upon those modes of explanation and understanding that any consideration of method must require. It suggests a role for photography as a 'vector', as something capable of connecting our knowledge and understanding of the everyday with the everyday experiences and reality of others. Drawing upon the photographs and spoken testimonies of children who live and work on the street, and of children who live in a large informal settlement, the article advances an intimate connection between photography and knowledge of the everyday reality of children's lives, most evident in the capacity of children's photographs to surprise and highlight the fallibility of our understandings. © 2010 International Visual Sociology Association.

“I understand. I am a participant”: Navigating the ‘fuzzy’ boundaries of visual methods in qualitative longitudinal research

In this chapter we discuss how utilising the participatory visual methodology, photovoice, in an aged care context with its unique communal setting raised several ‘fuzzy boundary’ ethical dilemmas. To illustrate these challenges, we draw on immersive field notes from an ongoing qualitative longitudinal research (QLR) exploring the lived experience of aged care from the perspective of older residents, and focus on interactions with one participant, 81 year old Cassie. We explore how the camera, which is integral to the photovoice method, altered the researcher/participant ethical dynamics by becoming a continual ‘connector’ to the researcher. The camera took on a distinct agency, acting as a non-threatening ‘portal’ that lengthened contact, provided informal opportunities to alter the relationship dynamics and enabled unplanned participant revelation.

Incorrigible and undisciplined lines in visual social research : ways of ‘writing’ and ‘drawing’ at the interstices

In this paper the author traces the possibilities afforded by engaging with the aesthetic, historic and socio-political nature of shodo (Japanese calligraphy) as an intersectional space. Shodo literally translated as 'the way of writing' is an artistic practice bringing together ink, brush and paper. It is simultaneously a juncture between studied discipline and an ongoing mediation of subjectivities. The calligrapher/writer/drawer communicates to the reader through the bold or subtle brush strokes, the pressure and movement at the completion of each stroke. The calligrapher/writer/drawer draws across the boundaries of text and image to meet the reader blurring the lines between subject and object. This discussion re-examines the hierarchical binaries of writing/drawing, text/image, self/Other as they play out from vanishing lines of distinction between truth and conjecture. Crossing these binaries opens up opportunity for decentring and questioning representational practice by enabling other possible meanings and practices to emerge (Lather, 2007). I work from a stance of theoretical promiscuity in order to disrupt constitutive discourses and restore the liminal in social research. Drawing across the fragments of research projects I illustrate the generative and speculative space of visualising pedascapes in educational research.