EENY, MEENY, MINY, MOE, (HOW TO?) CATCH A TIGER BY THE TOE Visual - - PowerPoint PPT Presentation

Faculty of Educational Sciences

’EENY, MEENY, MINY, MOE, (HOW TO?) CATCH A TIGER BY THE TOE’

Visual Research Methodologies in Educational Sciences Post-Doctoral Fellow Jaakko Hilppö Faculty of Educational Sciences University of Helsinki

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• Educational psychologist, class

teacher, early education and care researcher, amanuensis, singer, runner, husband, father, bass player…

• Children’s agency, sense of

agency, learning

• Ethnography, interactional

analysis, participatory methods, ethnomethodology

• CHAT / socio-cultural theory

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WHO AM I?

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• Goal 1: How to use visual methods to study experiences?

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ASPIRATIONS AND OUTLINES

• Goal 2: How to study the use of visual tools as part of

research activities?

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• Children’s experiences of their agency have not been studied
• Its importance was acknowledged, but children’s experience of their agency was

not studied in itself (e.g. Barton & Tan 2010; Bjerke 2011; Markström & Halldén 2009; Rainio 2008

• Experiences of one’s agency are cumbersome grasp for further reflection whilst being

engaged at the same time (e.g., Lipponen, et al. 2016).

• Without an explicit focus on these experiences and some way to retain them,

agentic moments can easily slip past in the continual flow of experience (Stone et al., 2000; Valsiner 2001; Roth & Jornet 2014).

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THE PROBLEM: HOW DO CHILDREN EXPERIENCE THEIR AGENCY?

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• Materializing experiences with photographs
• Reification is ‘the process of giving form to our experience by producing objects

that congeal this experience into “thingness”. In so doing, we create points of focus around which the negotiation of meaning becomes organized [...] Any community of practice produces abstractions, tools, symbols, stories, terms and concepts that reify something of that practice in a congealed form’ (Wenger 1998, pp. 58–59).

• In practice:
• “Take photos or draw pictures of your “moments of joy” (ilon hetki, in Finnish)

during you preschool day.”

• Visual methods were part of the preschool’s own pedagogical culture

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THE SOLUTION: CO-PARTICIPATORY VISUAL RESEARCH

image redacted image redacted image redacted

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ANALYSIS AND (PART OF) THE RESULTS:

• Modalities of agency are discursive tools with

which individual positions themselves as actors in relation to certain activity or situation

Greimas & Porter, 1977; Fontanille, 2006

Modality Theoretical description to want what the actor wants to do; motivation, goals and aspirations to know the knowledge and know- how of the actor. to be able the physical abilities and limitations of the actor have to a must, something that the actor has to do to feel, experience, appreciate character’s ability to feel and experience to have the possibility indicating possibilities to do something in a given situation

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“ICE STICKS IN THE AIR”

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• Joanne: So, tell us why did you want to take this kind of

picture?

• Anna: Well ‘cos I thought the air felt like super fun and

kinda like playful and there’s no other top spot and I read that you can’t take any photo’s of air ‘cos its invisible so then I took a photo of those ice sticks

• Joanne: Now that you said it we sure can see little that

there is also a little bit of air like in the photo although it is invisible.

• Anna: It looks like it has the most air in it.
• Joanne: Mmm-m. Everything in between is air. True.
• Anna: Its almost like the air would go through those ice

sticks and like its all dark like it was the air that (unclear, points at screen)

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“ICE STICKS IN THE AIR”

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• Joanne: So, tell us why did you want to take this kind of

picture?

• Anna: Well ‘cos I thought the air felt like super fun and

kinda like playful and there’s no other top spot and I read that you can’t take any photo’s of air ‘cos its invisible so then I took a photo of those ice sticks

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“ICE STICKS IN THE AIR”

To feel To know how to Modalities

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• Taking pictures and drawing was “fun”, “It felt good and nice”, “It was titanic”
• Also, sharing the pictures with others was fun
• “When I am older, I will join your research group.”
• Ideas for alternative ways of “moments of joy”:
• Performing, playing or writing

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WHAT DID THE KIDS SAY?

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BUT WAIT! ALL VERY NICE, BUT WHAT ROLE DID THE PICTURES PLAY?

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• Drawings and photographs are commonly used in research with children (e.g. Angell

et al., 2014; Christensen and James 2008; Fargas-Malet et al., 2010; Thomson 2008).

• Yet, while the importance of visual tools is often well grounded, the way in which

children or adults use them as mediational means is seldom discussed or presented in detail. ➡ a substantial methodological opportunity was missed! (e.g., Angell et al., 2014; Radley 2010; Tisdall and Punch 2012)

• If the the way in which the method impacts the results is not scrutinized, how can

we be sure they work?

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PROBLEM NO. 2: HOW ARE VISUAL MEANS USED IN PRACTICE?

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• Saying that visual (im/explicitly) mediate children’s telling is not enough
• Both are helpful conceptual tools, but remains at the level of a general categorical distinction
• According to Goodwin (2000), any action is constituted by a complex arrangement of multiple

semiotic fields (e.g. gestures, the body, and spoken language) that are deployed simultaneously and which elaborate on each other.

• Teacher’s use of a black board or child’s use of a photograph
• The moment-to-moment arrangement of these various semiotic fields is called a contextual

configuration

• During the course of an action, new semiotic fields can be brought in and old ones treated as

irrelevant, depending on present purposes. As a result, the contextual configuration changes.

• If an image is relevant for telling about your experience, it is used somehow by the

participants as part of that action

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SOLUTION NO.2: OPENING THE BLACK BOX WITH ’EIA’

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• Working with the same dataset as before, I re-analyzed the data by following an

embodied interactional analysis (EIA) workflow (Erickson 2006; Goodwin 2000; Jordan and Henderson 1995)

• 1. Content logs of all interactions, verbal and nonverbal in the videos
• an episode based description of joint interaction between participants and the

materiality of the setting

• Non-theoretical, participant perspective answer to the question ”what is going
• n?”
• this meant going through the previous transcripts and adding gestures, pauses,

tones of voice, the use of different materials as part of the transcript

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SOLUTION NO.2: UNBOXING IN PRACTICE

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Kesto 26:21 ja 12 kuvaa

aakkos laulu ulkokuvat, etsiminen ja ruokailu joutsenkuva, vaihtaminen ja kahvinhakija Monista kuvista kertominen Hausta näky ja tavaus Joutsenet,maat, isät ja toivominen vaihtami nen Käsi kuva Käsikuva uudestaan nimet kuvan

• taminen

ja riimittely kuvan valinta kuva Altonista kirjoittaminen, mahtavaa ja joutsenet S.n joutsen kuva lopetus

1! S:! Joo tää oli eiku odotas joo tää oli kaikki ((kuvaruutua osoittaen kuvaa (61))) ä- 2! J: ! Se 3! T:! Tämäkö joutsen? 4! S:! Joo toi joutsen. Se oli kivaa. 5! J: ! Noni. 6! T: ! No:ni:. 7! A: ! Otiks sä jostai videokuvaa? 8! S: ! Joo tää 9! T: ! [Mmm↑ 10! S: ! [Tää oli tosi hauska kun se ku niinku (0.8) to:: se >°mikä mikä se

• li°< (0.8) ((nostaa kädet leuan alle ja katsoo J & T)) Dasy ni

((osoittaa ruutua))= 11! J/T?: [Mm 12! S:! [se oli ru se oli:: toi prinssi jolt ((osoittaminen loppuu)) toi joutsenen kuningas >mm eääh oota<((nostaa kädet leuan alle ja katsoo J&T))= 13! A: ! Nää menee ! [tuonne ((kuvaruutua osoittaen)) ((epäselvää)) 14! S: ! ! [poikajoutsen poikajoutsen ((korottaa ääntään)) jaa::m niinku (1.2) sitte niinku ((naurahtaen)) se oli kivaa kun se niinku ((naurahtaa ja nostelee hihaa)) niinku teki niinku näin 'plamplammamamamas' ((heiluttaa kättään ja imitoi mutisevaa hassua ääntä))! 15! A:! Otiks otiks sä muutes videokuvaa? (2.2) 16! S:! En. 17! A: ! En mäkään. ((nousee hieman ylöspäin ja katse avartuu. Molemmat kääntyvät kohti J&T kuin kysymyksenä)) (1.0) 18! T: ! Ju jutellaa vaa tästä vielä tästä joutsenkuvasta. 19! J:! Joo. 20! S:! [Nii. 21! T: ! [Oliks se siis Dasyn tekemä toi ! [joutsen? 22! S:! ! [Joo-o. (Danielan) tekemä 23! T:! Joo-o 24! J:! Miks sä halusitkaan siitä ottaa kuvan? 25! S: ! Koska se oli (.) nii:n kiva. 26! J:! Joo-o. 27! A: ! Joo mhmhm ((hymyilee ja katsoo S)) 28! S:!

• Mmm. ((nyökyttää)) (1.2)

29! J: ! Oliks sulla itellä mitään semmosta(.)siihen liittyvää semmosta (1.2)

• nnistumisen hetkeä tai muuta?

30! S: ! Joo. 31! J: ! Kerro.! 32! S: ! Se oli kivaa kun se Dasy niinku ((käsi tekee samanlaisen liikkeen kuin aiemmin, mutta miedompana)) niinku leikki sillä nää niinku leikki sillä 33! J: ! Joo-o 34! ! ((Alexandra kiljahtaa ja heilauttaa kättään. Samantha tekee samoin. Alexandra tökkää Samanthaa.)) 35! S:!

• Heei. ((kääntyy katsomaan Alexandraa laittaen käden tomerasti

vyörärölle.)) 36! A:! ((Alexandra naurahtaa.)) 37! J:! Teitkö sä ite jotain tommosia? 38! S:! Kyllä. ((kääntyy ja katsoo samalla Jonnaa)) 39! ! (Alexandra mumisee jtn ja hihittelee.)) 40! J: ! Oiskohan semmosesta kuvaa? 41! S: ! Mä rakastan joutsenia. 42! J:! Oi 43! J: ! Otitko ite! [se otitko semmosesta kuvaa ku olit itte tehny? 44! A:! ! [((epäselvää)) 45! S: ! E vahingossa ((katsoo Jonnaa)) 46! J: ! [Et ottanu. 47! T: ! [Mmm↓. 48! S: ! Nii. 49! J: ! ↑No ei siinä mitään↓. 50! S: !

• Hehee. ((Samantha hymyilee ja kääntää katseen takaisin

kuvaruutuun. 51! J:! ((naurahtaa)) 52! S: ! On kiva ottaa muistaki joutsenista ((ääni muuttuu)) mutta en oo kyllä koskaan tehny• toi > noin hienoo joutsenta<. 53! J:! [Aaaaa.] 54! T:! [Mmm.] 55! S:! Koskaan °oppii sillon°. 56! J:! [Mmm 57! S:! [Oppii jos tekee vaikka noin no:in no:in no:in °no:in! [noin° ((osoittaa samalla joutsenen ääriviivoja)). CICERO Aineistosessio 15.5.2013 HILPPÖ et al.

Turn!! Verbal interaction 10! S: ! This was very funny ‘cos it like you know like (0.8) to:: se >°what what was it °< Dasy like = 11! J/T?![Mm 12! S: ! [She was ru she wa:s that prince yeah that swan king >mm eääh. wait<= 13! A:! [These go here (unclear) ((pointing to screen)) 14! S:! [Swan son swan son ((rising intonation)) ja::m like (1.2) then like ((laughing)) it was fun when it like like did like this plamplammamamamamasmpasm 15! A:! Did did you by the way any video? (2.2) Non-verbal interaction put hands under chin and looks at J&T points to screen pointing ends put hands under chin and looks at J&T touching and adjusting sleeve laughs and picks up sleeves, just before did this arm swinging and imitating SWANS: Hand moving

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• 2. Selecting ”key-episodes” or interesting episodes for closer analysis
• Repeated watching of the episodes with the help of the transcripts
• Data sessions with other colleagues, watching and talking about the episodes

together

• Making initial analytical observations about the use of the visual tools
• Developing intermediate representations that help see more from the data

”What is clear is that performing analyses with video is an iterative process that involves moving back and forth among the process of video selection; one’s evolving interpretations and hypotheses; and a variety of intermediate representations for discovering, evaluating, and representing the video data for oneself and others” Derry et. al 2010

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SOLUTION NO.2: UNBOXING IN PRACTICE, CONT.

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FROM A SWAN PRINCE TO A PAPER HANDICRAFT

Kasvatustieteellinen tiedekunta 20 SWANS: Hand moving

10 S: This was very funny ‘cos it like you know like (0.8) to:: se >°what what was it °< Dasy like = 11 J/T? [Mm 12 S: [She was ru she wa:s that prince yeah that swan king >mm eääh. wait<= 13 A: [These go here (unclear) ((pointing to screen)) 14 S: [Swan son swan son ((rising intonation)) ja::m like (1.2) then like ((laughing)) it was fun when it like like did like this plamplammamamamamasmpasm 15 A: Did did you by the way any video? (2.2) put hands under chin and looks at J&T points to screen pointing ends put hands under chin and looks at J&T touching and adjusting sleeve laughs and picks up sleeves, just before did this arm swinging and imitating

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• 3. Comparing and contrasting between different key episodes
• Finding a contrasting example from the data set where the visual tools were used

differently

• Comparing between examples and highlighting similarities and differences

➡Developing analytical categories

• 4. Applying analytical categories to all identified episodes
• Going through all the selected 82 episodes where children told of their experiences

and using the analytical categories

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SOLUTION NO.2: UNBOXING IN PRACTICE, CONT.

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• Two different way in which the photographs and drawings acted as mediational

means

• Illustrating experiences: picking out from the photo persons or things involved or

talking about where the photo was taken by pointing to them

• Background in re-enactment: iconic gesturing or talking and gesturing about what

was not in the picture but was present in the original moment

• In all, visual means were central part of how children told about their experiences
• However, there were also moments when the photographs were not used when

sharing an experience

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RESULTS: TWO DIFFERENT WAYS OF USING THE PHOTOS

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• Our results point to the relevance of tool-making as part of the research process
• ”….visual tools are not just aides-memoires or cognitive tools (Clarke, 2005) but that they

might also mediate the social organization of moments of telling and listening and their affective attunement, as Pyyry (2013) also argues.

• Using visual methods is also a process of joint making that impacts the relationship

between the researcher and the participants

• Paying attention to not just what is said, but how things are communicated together
• ”Our embodied interaction analysis also speaks to the importance of not just listening to

children but also paying attention to the ways in which they employ other communicative means in addition to the verbal. Although this fact is often acknowledged, it is seldom given analytical import in research (see also Evang and Øverlien, 2014; Griffin et al., 2014).”

• Embodied interaction analysis offers one potential way of researchers using visual methods in

their work to reflect and analyze this use more closely.

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WHAT IS THE BROADER RELEVANCE?

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”While a certain coherence is pursued in this handbook, it is not achieved by suppressing points of view or imposing an artificial uniformity based on just a few dominant theoretical perspectives. The contributions represent a wide range of epistemological positions and include methods and techniques as varied as eye tracking research, autoethnography, and arts-based approaches. It was the deliberate choice of the handbook editors to reflect the empirical, theoretical, and methodological diversity typical for this burgeoning field of research. Authors were encouraged to present their views in substantiated ways, even if their views at times diverted or contradicted those of other contributors, including those of the editors. Thus, the handbook does not produce a consistent view or voice, but seeks to exemplify the diversity in methods and techniques as well as the sometimes conflicting views and assessments of the strengths and weaknesses of those approaches. This seemed to result in a more valid presentation of the field in its current diverse state

• f development.”

Margolis & Pauwels (2011) The SAGE Handbook of Visual Research Methods, p. xix

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POSITIONING OUR STUDIES IN THE FIELD

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Pauwels (2011, p. 5)

• A. Origin and

Nature of Visuals

• B. Research

Focus and Design

• C. Format and

Purpose

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A: Respondent produced materials B: Respondents verbal feedback on materials & Socio-cultural conceptualisation of visuals C: Words with visuals intended to increase understanding of children’s agentic experiences A: Secondary research materials B: Practices of using the visual materials & Socio-cultural conceptualisation of visuals C: Graphical representations to increase methodological awareness and understanding

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THANK YOU FOR YOUR ATTENTION!

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• What was it like documenting your own experiences?
• Would an alternative methods have worked better?
• How about sharing them with a friend/colleague/family member?
• What kind of initial analytical observations did you make from the video?

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SHARING AND DISCUSSING

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CHILDREN AS RESEARCHERS

”[In relation ethical conduct] one especially troublesome aspect of participatory visual research is the fact that the research design intentionally aims to produce records of human interaction (e.g., photographs and videos), which are not fully under the control of the researchers.” ”Although the need to be respectful of others was emphasized and discussed with the pupils, as was making an effort to frame the photographs so that only consenting persons were shown, the mere fact of pupils taking photographs and looking at them in joint school spaces – something which is not a common practice – created disruptions. On occasion, the participating pupils’ playful orientation to the documentation and taking of mock-up shots made some teachers as well as other pupils wary of the research and dubious of whether sufficient attention had been given to the issue of privacy. ” Hilppö, 2016, p. 32-33

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